STRAND News

STRAND News
STRAND
News
AUTUMN 2005
INSIDE THIS ISSUE
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C21 Dimmer wins Product of the Year at LDI 2005
Vietnam TV (Studio 10)
Kuala Lumpur Performing Arts Centre
OneLights light up Paris Fashion Show
First EC21 Installation at St David’s Hall, Cardiff
Woman In White on Broadway
Trey McIntyre Project
PLASA & IBC Reviews
Strand 500 Series Master Class
NEW OneLight 1200W
NEW 6pack and 3pack Digital Dimmers
Console Programming Tips
John Wright celebrates 40 years with Strand
C21 Dimmer Rack wins Lighting Product of the Year Award
at LDI 2005
by Peter Rogers
The C21 Dimmer range was recognized as the
Product of the Year at LDI 2005 in Orlando recently.
Tim Burnham, President of Strand Lighting, accepted
the award at the LDI Awards ceremony “All of us at
Strand are pleased to receive this recognition. I am
very proud of the technical achievements of the entire
C21 – EC21 design team led by Michael Lay and Steve
Carlson.”, he said.
C21 and EC21 dimmer racks are designed for
global operation and provide a number of advances
in technology. In addition to providing support for
conventional SCR dimmers including Quad, Dual and
single modules with ratings up to 12kW; sophisticated
Sinewave dimmers are also available. Dual Sinewave
modules may be freely mixed and matched with
standard dimmers in the same rack for complete
flexibility. No special wiring or separate racks are
required for Sinewave dimming as we offer dual
modules that are the same size as our standard dual
dimmers. Strand TrueSine Sinewave dimmers offer
a fully symmetrical Sinewave output for completely
silent lamps and control for a wide range of loads. All
systems are simple to use and set up through a Web
Browser interface and an Ethernet input is standard
on all racks.
Strand has already demonstrated the full range of
standard and TrueSine™ dimmers at trade shows
throughout the world along with our powerful web
based configuration and monitoring tools.
Further product information is available on our
website:
www.strandlighting.com
Vietnam Television (VTV) Studio 10
by Gary Yap
Completed in July 2005 Studio 10 at
Vietnam Television (VTV) in Hanoi,
has been designed specifically for
the popular “Who Wants To Be A
Millionaire” game show. Designers
also needed to consider the need
for flexibility, as Studio 10 will
also be required to accommodate
any drama or game show in future
projects.
Design of the studio was completed
in conjunction with VTV Technical
Center For Program Production’s
Mr Tran Van Long, Director and Mr
Cao Van Liet, Deputy Director
Strand Lighting were appointed for
the design, supply, supervision,
testing & commissioning of the
project.
Strand’s local distributor Tech
Ventures System Pte Ltd worked
closely with contractor Equipment
and Materials of Information ImportExport Company (EMI Ltd) to ensure
timely completion.
Training will also be provided by
Strand Lighting.
Equipment List
Rigging System
1 x 6m diameter Prolyte CircularTruss
lifted by 4 x 1000kg Prolyft Chain
Hoists
4 x IFF Combi Hoists with 10m
triangular truss
16 x IFF Combi Hoist with 7.3m
Lighting Batten
1 x Double Track IFF Type Rail
Cyclorama Tracks with Off White
Cyclorama Cloth and Surge Wool
Black Curtain, with 2 x Side
Tensioning Towers for Cyclorama
Cloth
Luminaires
6 x Bambino 5kW P.O.
16 x Bambino 2kW P.O.
15 x Studio 1kW P.O.
50 x 1kW PARCAN
25 x 1kW Short Nose Parcan
30 x Iris 4, 1.25kW, P.O.
24 x Orion 4 Rigid
6 x Orion 4 Hinged
25 x SL15/32 Zoom Profile
12 x Arturo 2 (1.25 / 2.50 kW)
6 x Coda 500/1
12 x Martin Mac 550
12 x Martin Mac 600E
Project Information
Client
Vietnam Television (VTV) , Hanoi / Vietnam
Distributor:
Tech Ventures System Pte Ltd
Contractor:
Equipment And Materials Of Information
Import – Export Company (EMI. Co.)
Accessories
Lighting Control and Dimmers
5 x Orion Input Cables
6 x Eggcrates Narrow for Arturo 2
6 x Eggcrates Wide for Arturo 2
10 x Hercules Stands
8 x Large Gaffer Grips
2 x Operating Poles (1.4 - 4m &
2.1 - 7.5m)
25 x 19 degree SL Lens Tubes
25 x 36 degree SL Lens Tubes
1 lot of Socapex Extension Cables,
16A Extension Cables
1 x 520i Console 500 channel plus
500 Attributes
1 x A4 Digitising Tablet for moving
lights
1 x DMX Distribution System with
Patch Panels and Strand 1-In
6-Out DMX distribution amplifier
220 Way CD80SV Dimmer System
comprises:
2 x CD80SV Large Racks
1 x CD80SC Small Rack
Single Processor for all racks
22 x Dual 5.5kW Std Rise Time
Dimmer Modules
82 x Dual 3.3kW Std Rise Time
Dimmer Modules
12 x Dual 25A Relay Modules
Additional information
DMX data is distributed on Cat 5 cable.
This will provide an easy upgrade path
to a fully networked system.
The Kuala Lumpur Performing Arts Centre
by Stephen Yim, Chia Kah Leong
The Kuala Lumpur Performing
Arts Centre (PentasSeni KL) is
fast becoming the hub for the
performing
arts
community,
fostering creative excellence
through the development and
nurturing of performing arts
culture.
Main Theatre Barrel View
Main Theatre Pentas1
A not-for-profit organisation, the
Kuala Lumpur Performing Arts
Centre is designed to meet the
needs of an ever more demanding
and diverse performing arts scene
in Malaysia. Located in the midst
of parkland and lakes in Sentul Park,
the arts centre is located only 10
minutes from a railway station and
20 minutes by car from the city
centre.
The complex comprises a 504 seat
proscenium theatre, a 200 seat
experimental black box, the IndiCine
for independent film makers; an
onsite set construction workshop,
an academy with 10 studios, and
much more.
KLPac collaborates with companies
from around the world on a regular
basis. They also work closely with
organisations such as the British
Council, The Japan Foundation
and the cultural sections of many
foreign missions to bring overseas
productions to the Malaysian stage.
The founding partners in the
complex areYayasan Budi Penyayang
Malaysia, YTL Corporation and The
Actors Studio.
Penyayang’s role in the newly
formed KL Performing Arts Centre/
PentasSeni KL is in keeping with
their objective of assisting the
promotion of cultural heritage and
the arts. Datin Paduka Seri Endon
Main Theatre Grid Floor
Mahmood, who heads the charitable
Foundation, is the Patron of KLPac.
YTL Corporation is widely recognised
as a supporter of the arts with their
sponsorship of the Penang-YTL Arts
Festival, the annual YTL Concert of
Celebration and past sponsorship
of the Kuala Lumpur Symphony
Orchestra. KLPac is a continuation
of this commitment to share the gift
of the arts with the community and
to promote cultural development in
Malaysia.
The
Actors
Studio is one
of Malaysia’s
l e a d i n g
t h e a t r e
companies.
Founders
Joe Hasham
and Faridah
Merican,
in
their
respective
roles as Artistic Director and
Executive Producer of KLPac, will
be instrumental in managing the
artistic programme and helping to
realise KLPac’s vision of establishing
the Centre as the performing arts
heart of the community, making
quality live theatre accessible to all
Malaysians.
www.klpac.com
Equipment List
Control & Dimming Systems
Main Theatre
4 x CD80SV (192 channels) with SN110/
POE
Controlled by a 600 channel 520i control
desk
Network & Accessories:
R140 Wired Remote Focus Unit,
xConnect USB Designer Remote, SWC
System Wide Control, 6 x SN110/POE
Ethernet Nodes
Experimental Theatre
1 x CD80SV (48 channels)
Controlled by a 125 channel GSX desk
Luminaires
Experimental Theatre Grid View
Experimental Theatre Dimmer Room
48 x Alto F Fresnel Spotlight
26 x Alto PC PC Spotlight
24 x Cantata F Fresnel Spotlight
18 x Cantata PC PC Spotlight
40 x SL19 Coolbeam Profile Spotlight
40 x SL26 Coolbeam Profile Spotlight
40 x SL36 Coolbeam Profile Spotlight
30 x SL50 Coolbeam Profile Spotlight
30 x SL15/32 Coolbeam Profile Spotlight
30 x SL23/50 Coolbeam Profile Spotlight
20 x Quartet F Fresnel Spotlight
Collection d’hiver mise en lumière par le OneLight™ PAR 575W
Ecole des beaux Arts, Paris. 25 Juillet 2005
Lumière et Son Paris a inauguré l’utilisation du
OneLight PAR 575W à l’occasion d’un defilé de
moded’une marque de haute couture. “C’était
en fait l’un des derniers défilés de la saison,nous
venions tout juste de recevoir les OneLight et nous
avons tenu à les utiliser avant la prochaine saison
qui débutera en Octobre”, indique Monsieur Pierre
Heyligen, Directeur général de Lumière et Son
Paris. L’utilisation de projecteurs en lumière du jour
est unetendance actuelle des défilés, elle permet
de recréer les conditions photographiques d’un
studio photo. Les OneLight PAR ou Fresnel 575W
sont tout particulièment adaptés à cette utilisation,
en effet leurmise en place est aussi simple que
pour des projecteurs tungstènes: plus de montée
de lampe, plus de ballast à cacher !
De plus, le pilotage par DMX rend l’ensemble
dusystème très facile à gérer depuis le pupitre.
20 x OneLight PAR 575W on the set
Winter Fashion show put in light
with OneLight™ PAR 575W
Ecole des beaux Arts, Paris. 25 July 2005
Rigging the OneLight: a piece of cake
Lumière et Son Paris has pioneered the use of the
OneLight PAR 575W during a Paris Fashion show held
at the Ecole des beaux Arts in Paris.
“It was one of the last fashion shows of the season,
and we’d just received the OneLights. We wanted
to test them live before the next season started in
October”, indicates Mr Pierre Heyligen, Managing
Director of Lumière et Son Paris.
The use of daylight luminaires is a new trend in fashion
shows, recreating the conditions of a photographic
studio. The OneLight PAR and Fresnel are particularly
suitable in this application. Installation is as simple
as tungsten luminaires: No head to ballast cable, nor
ballast to hide!
In addition, the DMX function allows easy control of
the whole system by the control desk.
St David’s Hall, Cardiff - turns on first EC21 installation in Europe
by Bethan Dickson
August 2005 saw the commissioning
of the first EC21 installation in
Europe. Strand distributor, Northern
Light, completed the installation as
part of ongoing improvements to
the venue, which is situated in the
very heart of Cardiff, capital city of
Wales. St David’s Hall is the National
Concert Hall and Conference Centre
of the principality.
St. David’s Hall has a main stage
platform with capacity for a full
international orchestra of up to
120 musicians, with the flexibility
of ten lifts within the stage area
to accommodate any performace
requirement. Today the venue
presents a multitude of live
entertainment, including pop, rock,
jazz, comedy, children’s shows,
lunchtime concerts, classical music,
light entertainment and dance.
The new EC21 dimmers replace the
long-serving Strand MCM dimmers
which were installed during a
previous redevelopment of the site
in 1982.
David Vandepeear, Project Manager
for Northern Light, led the installation
team with Strand commissioning
engineers also attending in support
of the new product debut.
EC21 dimmers proved easy to install
and were quickly up and running.
St David’s Hall also features Strand
530i control desks with 510i backup.
A new fibreoptic connection to
the dimmer room now links the
consoles, nodes and dimmers
using Strand ShowNet making a
comprehensive Strand network
installation.
Equipment List
2 x EC21 digital dimmer racks
with 166 channels
comprising:
40 x Dual 3kw modules
37 x Dual 5kW modules
12 x Single 10kW modules
EC21 Now ex-stock
Delivery of first EC21 racks and modules. Kirkcaldy, Scotland
Mike Stanners, Customer Service Manager (right), takes
possession of his first EC21 racks.
www.stdavidshallcardiff.co.uk
www.northernlight.co.uk
Woman in White:
From the West End to Broadway
by Bobby Harrell
software enables us as designers
to work in either tracking or Genius
mode dependant on the show
requirements and our approach.
In New York and London, our
programmer, Vic Smerdon, has
worked hard in her set-up of the
console and software to allow
us to quickly respond to what is
I asked David Howe, Associate
happening on stage, attributes,
Lighting Designer for Paul Pyant, to
color and Moving Light templates
tell me a little about the process for
are all laid out on the sub masters
selecting control for this show.
for ease of access.
“We chose the Strand 500 Series
console for ‘Woman in White’ for a In the UK the relationship between
a designer and the programmer is
variety of reasons:
integral to the lighting of the show,
Strand consoles are well used in
we rely on the operator to undertake
the UK especially as many houses
a great deal of the ‘behind the
(theatres) own their own consoles.
scenes’ programming and the 500
For the West End we augmented
series software and consoles give
the house desk with an upgrade
us and the programmer this high
of channel software to their
degree of control.”
existing 520i console
and 510 backup. For the
production period we
then rented a larger 550
console as a programming
surface which acted as
a slave console to the
house desk, allowing
our Programmer, Vic
Smerdon, to use the
extra sub masters and
faders for the plotting of
the show.
For the New York
production
it
made
sense to transfer the
show and console spec
directly from London, we used Vic Smerdon is programming in
a 550i console and 520i backup New York on a Strand 550i with a
console and imported the existing 520i for backup. She is controlling
show file as a starting point for 13 VL3000Q Spots, 14 Clay Paky
programming. Due to the network Halo Alpha Washes, 18 ETC
capabilities of the console also we Revolutions, 10 City Theatrical
were able to provide the amount of Auto Yokes, 6 Strand Pirouettes
video output for the LD and team with Rainbow Scrollers, 14 Strand
both via Video Nodes and also the Tocatta Effects Projectors with
xConnect software to our PC’s at the White LightVSFX Discs, 1 PANI 2.5k
tech table to save on the multiple HMI projector, over 100 Wybron
scrollers, over 200 conventionals
number of Video Monitors.
and 15 Look Solutions Unique
From a designers point of view
Hazers and Viper NTs. All the
the console gives us a very stable
lighting equipment is provided
control platform from which to
by Hudson Sound & Lighting.
light the show, the flexibility of the
“Woman in White”, the popular
West End musical, is making the
trek across the pond from The
Palace Theatre in London to The
Marquis Theatre in New York this
fall. The show goes into previews
on October 28th with an opening
night on November 17th.
Here are her comments on the
desk:
“As someone who is very familiar
using the 500 series as a theatrical
lighting console, for a show like this
I feel that it is absolutely the best
for the job. It enables us to control
both the generic and automated
units with ease and fluidity, and
gives us a greater
control of cue structures
than is perhaps available
with some of the more
common ‘moving light’
desks.
Because
each
cue
sequence is closely tied in
with complex projection
and automation cues,
we quickly discovered
during
the
original
process in London that
if we could create a
sequence of cues that
would run happily along
with the various scene changes,
it would make life easier for the
DSM (Stage Manager) and board
operator alike. Thus for every scene
change there is generally a linked
sequence of cues and part cues,
which means that in a fairly busy
show there are little more than 50
called cues for each act, but a total
of at least 400 cue parts for the
entire show. The ease with which
we did this is, I think, down to the
Strand’s functionality and versatility
in building such sequences.
Furthermore, from my point of view,
the presence of preset focus groups
made transferring the show much
easier than I expected - coupled of
course with FocusTrack it became
a very straightforward process
for focusing all the moving lights even without focus notes we would
have been able to figure out how
it should have looked with preset
focus groups for positions, zoom,
gobos etc.
From a programming point of view,
the Strand is one of the most
versatile systems I have ever come
across. Things like the user-edited
ATC pages mean that you can set up
the console exactly how you might
like, and with the ability to double
or even triple macro buttons by
using the submaster bump buttons,
almost everything is accessible at
the touch of a button. Hence we’re
able to keep up with changes from
automation and video very easily,
and so we all look good!”
Vic mentions FocusTrack.
Go to http://focustrack.co.uk/ for
details.
One of the things that David
mentions is the xConnect
software
that
Strand
has
developed to expand the way
that designers think about video
for the tech table. With xConnect,
the design staff can choose their
own screens in their own format
independent of the programmer’s
choices on the console itself.
Here is what Jared Sayeg, the US
Assistant Lighting Designer, had
to say about xConnect:
“X-Connect became an invaluable
aid during production by providing a
unique way of viewing information
through customizing screen displays
and user settings. This gave me the
information I needed to be viewing
without interrupting the command
line of the programmer or interfering
node display’s on the network.
For year’s designers, assistants,
and technicians have become used
to viewing the typical 2-screen
node display, only changing at the
keystroke of who is operating the
console. Now with xConnect, not
only have you gained flexibility in
viewing the console’s information,
you have completely bypassed
taking the programmer away from
their work by asking to ‘PAGE’...a
dream finally realized!”
Jared has setup his
laptop with a four
screen view using
multiple logins.The
top two screens are
in Monitor mode.
This means that
xConnect is simply
monitoring
the
console
screens.
(This is what we
are all familiar with
using an SN100
video node.)
The unique thing
is the bottom two
screens that are in Login mode.
In Login mode, Jared is logged
in as a console! If this were a
non-union situation, Jared could
actually have control of the lights.
He could bring up channels,
dimmers, run cues…anything
a console can do. But since
this is a Broadway show, I have
restricted the functionality to
conform to Local 1 limits. That’s
to say, he can’t actually control
any lights, but he can control
how his screens are configured.
With Vic programming the show
in Genius mode, she
likes to use the Galaxy
screens which layout
the channels in a vertical
format.
Since this is a screen
format
that
most
American designers are
not used to, Jared has
configured his screens
for LightPalette mode.
These limits are actually
a good thing. This way, Jared
can’t accidentally press the wrong
key and affect the programming
of the show. He can look at any
screen he wants, (live, preview,
groups, subs, fx, or macros) or
page to a different channel screen
whenever he wants and not affect
the programming…ever!
xConnect can be utilized with any
current 500 series installation and
any 300 series console that has a
network card.
Intelligent programming…that’s
what it’s all about!
Assistant Lighting Designer Jared Sayeg’s
xConnect screens at the production table for
Woman in White
Additional production staff includes:
Vivien Leone - US Associate Lighting
Designer John Lawson - Production
Electrician
Trey McIntyre Project 2005 Inaugural Season
by Nic Phillips
When planning TMP’s first tour I
decided it was necessary to have
the company tour with a lighting
console. The company was touring,
for the most part, to festival venues
where there would be significant
recreation work to be done as no
two plots were the same.
Without question the Strand 500
series was the only choice for me
with its unique features to translate
shows within the console. The rep
consisted of three ballets, one
a premiere, and the other two
from two existing with cues from
different sources. One of which
was a Trackmaster 2 (by Status
Software) file, and the other an
ETC Expression file. Using Strand’s
Showport program, I was able to
convert both to a Strand Show File,
and then use the console to translate
the old channels to the new.
This saved an immense amount
of time since the console already
had cues in the console ready to
go for the first tech. I could then
quickly track changes needed to
make the pieces look as they did
when originally set. Features like
trackback, spreadsheet style editing
in the live command line, the ability
to renumber channels globally,
selective loading of show data, and
all the features of the Tracker Preset
application are what make the
Strand system stand out. To me it
equates confidence in not having to
be concerned with how the console
is going to get done what I need
done. Strand’s software actually
helps the designer!
This would have all been so easy
if I could have actually sent a 500
Series desk with the company. On
the other hand, this would not be
so interesting if there was not some
sort of limitation, and in this case the
console needed to travel as checked
luggage on a commercial flight. This
requirement put the 500 Series form
factor out of the question, so the
compact and arrange-able panels
of the 300 Series fit the bill exactly.
To make the 300 Series tour able
this way I turned to Strand dealer
Parlites. Cary Levitt, Walt Dowling,
and their staff worked with Strand
to devise a system that fit the travel
and design requirements.
Our “custom” solution consisted of
a 300 Series programming panel, a
fader panel, a 300 Series processor,
two 15” LCD displays, a Linksys WiFi
router, a UPS, and a SN110 node. All
of this was packaged into two hard
cases that fit airline checked luggage
regulations, so it worked quite well.
The console was packaged with
400 intensity channels and 200
attribute channels, WiFi, and all of
the applications commensurate
with a 500 Series package.
Networking and the SN110 node
proved to be invaluable.
Being able to put two
universes of DMX away
from the console let
me quickly place the
faceplate in the house
for tech, and then to
the booth or backstage
for the performances.
XConnect running on my
Powerbook then allowed
me a remote console and
monitors anywhere in the
theater, and of course,
wireless remote via the iPaq, need
I say more?
Thank you greatly to Parlites and
Strand Lighting for their assistance
in making Trey McIntyre Project’s
inaugural such a success!
“Without question the
Strand was the only
choice for me ”
PLASA & IBC
PLASA (September 11-14)
Our new digital dimming products
took centrestage on the Strand
booth this year.
Appearing at PLASA for the first
time was the EC21 series dimmer
rack. The new racks support a wide
range of dimmers including Quad
2.5kW, Dual 3kW and 5kW and
Single 10kW thyristor dimmers.
There are also dual 3kW and
5kW Snewave modules and
each features a fully symmetrical
Sinewave output with less than
EC21 digital dimmer rack
1% harmonic distortion. Sinewave
dimmers may be mised and
matched with standard dimmers in the same rack for
complete flexibility.
Also shown for the first time was the new 6pack digital
dimmer, featuring 6 x 10amp dimmers in a compact
rack or wall mounting package.
Our thanks to Sparks Theatrical Hire for their work
installing lighting for our stand.
6pack digital dimmers
IBC (September 9-13)
IBC 2005 proved to be very busy and we were able to
showcase the latest additions to the OneLight PAR and
Fresnels range.
The new 1200W MSR daylight luminaires were introduced
at IBC.
Like the 575W OneLight units introduced last year, the
new OneLight 1200W features a quiet fully integrated
high frequency electronic ballast designed with
ClearArc technology for maximum useful lamp life and
performance.
OneLight 1200W PAR & Fresnel
These new OneLights also
support an optional DMX
control module.
Our thanks to Barndoor
who assisted us in the
design and build of our
stand again this year.
Strand 500 Series Master Class
by Bobby Harrell
Many new features have been added to the Strand 500 series consoles over the course of its 10 year
development. So much so, in fact, that official training has been requested by operators that have been
using the desks for years!
Compared to the functionality of the
consoles from the late 1990s, it’s like
having a brand new desk for some
users. Many of the features that have
been recently enabled allow for much
smarter use of conventional fixtures and
so many more of the features increase
functionality of automated luminaire
programming.
Philadelphia Local 8 Training
I have developed a training
course that I teach for user
groups all over North America.
This summer, I was brought in
by IATSE’s Local 8 in Philadelphia
for a 3 day masterclass at the
Kimmel Center. This was taught
to users of all levels that work
with the 500 series consoles all
over the city.
Each
class
starts
with
conventional
lighting
programming
and
then
moves into automated fixture
programming. We had full use
of the Kimmel Center lighting
rig with 5 Strand 500 series
consoles all linked together IATSE Local 8 members discussing
on the same network running moving light programming.
conventional lights, scrollers and
movers.
Here is what David W. Cecil,
a participant, had to say about
the class…
“Although I had been operating integrate moving and conventional
Strand Lighting Consoles for fixtures on a single console and
several years I found Bobby still program complex lighting
Harrell’s instruction for the Strand presentations. It is, without a
520i and 550i to be invaluable. In doubt, one of the best professional
his course, Mr. Harrell outlines courses I have ever attended.”
an efficient approach for the
operation of intelligent lighting
Many thanks to Michael Sweeney,
fixtures. His demonstrates how
Master Electrician of the Kimmel
to edit fixture libraries, attribute
Center and Jim Utterback from
filters and profiles. His methods
Local 22 for their help.
for organizing groups and macros
proved to be most illuminating.
His comprehensive methodology
enables you to successfully
Canada Training in Edmonton &
Calgary
In September, I traveled to Edmonton
and Calgary to teach master classes
for Canadian users.
Always starting with conventional
programming then moving into
automated fixtures, each class is
customized to the students’ level of
experience.
Each Canadian class lasted one day
but I have taught extensive 5 day
classes. That gets very hands on and
finishes with a single day design and
cueing project for the students.
Thanks to Richard Goode of Strand
Canada for all his help.
The Masterclass in Edmonton.
5 – 520i consoles, 4 - Technobeams
with xConnect and WYSIWYG.
If you have a need for training in your
area, don’t hesitate to contact your
local union. Many have education
programs for funding of training.
For non-union training of designers,
programmers, electricians and
students…contact me directly
or sign up for my classes at LDI
Orlando!
NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS
NEW OneLight PAR 1200W
by Alain Wisniewski, Quartzcolor Product & Sales Director
The OneLight family welcomes the 1200W Fresnel and PAR.
The OneLight concept of integrated ballast technology makes
the use of daylight luminaires very easy - no more hassle with
ballast to head cables, and no separate ballast.
This technological breakthrough uses a sinewave ballast
designed by our partner Power Gems Ltd. This ballast is flicker
free, through the innovative use of a high frequency sinewave
(300 kHz ) to operate the lamp from the integrated ballast.
OneLight units provide totally silent operation; crucial in
sensitive applications like movies, interviews, studio work.
OneLight 1200W also has a weight advantage. At 16kg, it is
only slightly heavier than many of the “head only” alternatives
available on the market!
One Philips MSR 1200W HR lamp is provided with the unit.
As with others models in the OneLight family, the 1200W very
cost effective with savings of up to 25% for similar separate
head, ballast, and lamps systems.
Successfully introduced at both PLASA, London and IBC,
Amsterdam, the first units will be available early next year.
NEW Philips Lamp: MSR 250W HR
by Alain Wisniewski, Quartzcolor Product & Sales Director
Philips has announced the launch of a new daylight lamp MSR 250 HR. This development enables the immediate
extension of our OneLight family with the 250W Fresnel OneLight. This product is already listed in the Strand
Product Guide (originally developed with the CST lamp)
a
Figure a : existing 250W CST (3200 ºK)
Figure b: NEW 250 MSR HR (6000 ºK)
b
OneLight Fresnel 250W CST
and now also MSR 250W HR
NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS ∙ NEW PRODUCTS
6pack 6 x 10A Digital Dimmer
3pack 3 x 25A Digital Dimmer
Ideal for use in small to medium size Three dimmer curves including linear,
installations, rental applications and for non-dim and square may be assigned
portable use.
to each dimmer
The 6pack and 3pack are a family of
cost effective, flexible digital dimmer
packs with a wide range of features
and socket options.
Each channel is protected by a
magnetic circuit breaker and rated at 10
Amps (2.3kW) for 6pack; 25A (5kW) for
3pack. All racks are convection cooled
for quiet operation.
The 6pack features 110µs chokes
(3pack 140µs).
The sliding electronics tray gives easy
service access even after installation.
The simple control interface enables
users to set DMX address, minimum
/maximum levels and dimmer curves
channel by channel.
Ordering Information
Cat No
Description
75301
75302
75303
75304
75305
6pack 6x10A Hardwired
6pack 6x10A Dual 15A
6pack 6x10A Dual Schuko
6pack 6x10A Dual CEE17
6pack 6x10A Dual French
Special Order
6pack 6x10A Dual Swiss
75300
3pack 3x25A CEE17
Features
•
MCB (SPN) protection for each channel
•
Wide range of socket options including
Dual UK 15A, Schuko, French, CEE17,
CEE17 (32A connector, 5kW load) and
hardwired
•
Suitable for portable, rack-mount and
wall-mount operation
(wall brackets included)
•
Single or three phase operation
•
Fully digital control electronics
•
DMX In/Out
•
Simple Set up using front panel keypad
and LED display
•
DMX fail hold function
•
DMX termination switch
•
Selectable Minimum Level for each
dimmer
•
Local on/off test buttons
•
DMX addressing with individual
patching for all dimmers
•
Simple slide-out service access
•
Fan free convection cooling for quiet
operation
6pack Dual Schuko
6pack Dual 15A
6pack Dual 16A
3pack 3 x CEE17
Console Programming Tips, Autumn 2005
by Rob Halliday
Moving Information Around The ‘must haves’ of lighting seem to help - and,
have made things harder - but only surprisingly,
Console
In the old days, it seemed so much
easier to use lighting consoles. You
brought up a bunch of channels to
make a pretty look on stage, then
you pressed the ‘Record’ key to
commit that look to memory. Later,
to get that look back you played the
cue; sometimes you made some
adjustments then recorded again.
The arrival of moving lights,
scrollers and all of the other current
Getting Lights To Look As They Do In
Other Cues
If you want the look of cue 1 back
on stage, that’s easy: run cue
1 either using [CUE][1][GOx1]
or
[CUE][1][CUTx1]
or
[GOTO][CUE][1][*] according to
taste (though note that there is a
subtle difference between the use
of GO/CUT and GOTO: when the
cue ends up on stage using the first
two the channel colours on the live
screen - green for channels going
down, purple for channels going
up - will be relative to whatever
was last live; when using GOTO
they will be relative to the previous
cue in the cue list regardless of
what was on stage beforehand; a
subtle difference but sometimes
an important one, particularly when
jumping around a show out of
order).
But what if you only want to pull
back part of the look - perhaps only
what channel 1, a moving light, was
doing in cue 50? Easy:
[1] [@] [CUE] [50] [*]
Channel 1 will now be doing ‘live’
exactly what it was doing in cue
50. But perhaps we only wanted to
get channel 1 pointing to the right
direction in the right colour rather
than have it come on:
[1] [@] [CUE] [50] {ATTS ONLY} [*]
ATTS ONLY means ‘pull back the
attributes only, ignore the recorded
because with them, you want to do
more complex things! If you wanted
to put channel 1 to the level it was
at in cue 1, you used to just look up
that level then type ‘[email protected]’, perhaps
followed by a press of the [*] key if
working in command line mode. But
if 1 is a moving light and you want to
put it back to looking as it did in cue
1, that’s harder.
Fortunately Strand 300- and 500series consoles offer lots of ways to
some of the
functions
that at first
seem to be
useful only
for moving
lights turn
out to be
surprisingly useful additions when
dealing with conventional lights,
too.
intensity’. Equally, we could have
wanted just to the set the light to
the level it had in cue 50 but leaving
it pointing where it was currently
pointing - intensity only rather than
attributes only:
note that in current software you
can define twelve function filter
combinations instead of the six
described in that newsletter).
You can also pull back particular
attributes using the console’s
[1] [@] [CUE] [50] {INTS ONLY} [*]
attribute numbers if you need to INTS ONLY and ATTS ONLY appear so set just the pan of channel 1 to
as softkeys on the left-hand set of its value from cue 50:
softkeys on 530i and 550i consoles; [1.3] [@] [CUE] [50] [*].
on 520i and 300 consoles you may
have to press the [REC MODE] Note that the console will fill in
key to get them to appear on your channel numbers for you, so if you
softkey LCD display; on an off-line did want to specify pan and tilt in
editor or xConnect, the ‘J’ key this way rather than using {@ATT}
corresponds to REC MODE.
{position} you’d only need to type:
It’s possible that we might want to [1.3] [+] [.4] [@] [CUE] [50] [*] - the
refine things further - to leave the console would fill in the extra ‘1’ for
light pointing to where it’s pointing you. Or if you just wanted to pull
now, but to set it to the colour it back the pans for channels 101 and
was in in cue 50:
102 you’d just need to type:
[101.3] [+] [NEXT] [@] [CUE] [50] [*]
[1] [@] [CUE] [50] [@ATT] {colour}
[*]
And, of course, you’re not limited
(where @ATT is called ATTRIB on to doing this just one light at a time
300-series consoles)
as all of the normal commands you
This uses the consoles ‘function can use for selecting ranges of
filters’ to just pull back the attributes lights can be used here:
defined as colour attributes . You can [1] [+] [2] [@] [CUE] [50] [*]
combine multiple function filters, so [1] {THRUON} [100] [@] [CUE] [50]
if you wanted to pull back position {ATTS ONLY} [*]
and colour you could have said [@A [GROUP] [800] [@] [CUE] [50] [*]
TT]{position}{colour}. You can define
which attributes are controlled by This means that, though useful for
which function filter (and create moving lights, this is also useful for
your own, if you like) by editing the other blocks of lights - perhaps the
console’s ATCPAGE screen - see LD says ‘make the cyclorama look
the December 2003 newsletter like it did in cue 50’. If the cyclorama
for more details of doing this, but channels are 101-120:
Console Programming Tips, Autumn 2005 (continued)
[101] [THRU] [120] [@] [CUE] [50] macro:
[*].
[CUE] [NEXT] [-] [CUE] [LAST] [LAST]
[@] (INTS ONLY} [0.5]
or - and this is a handy way to
‘preheat’ lights from one cue in a All of these commands also work
previous cue without disturbing the in PREVIEW, so as well as setting
attributes in either cue, how about, a light to its look from cue 1 live on
while in cue 2:
stage, you could also go to cue 100
[CUE] [2] [-] [CUE] [1] [@] {INTS (or sub 1, or an effect) in preview
ONLY} [0.5]
and set the light to its value from
which could become a useful cue 1 there. When working in
tracking mode then, as with any
channel commands, you can add
QONLY/TRACK and/or TRACKBACK
to specify whether the change just
affects one cue or tracks forwards
or backwards through the show
(TRACKBACK
is
shift-QONLY/
TRACK; see the Summer 2004
Newsletter).
Setting Lights To Values Stored In
Groups
You can set a light to a ‘reference
group’ using similar commands to
those above:
[1] [@] [GROUP] [50] [*]
will set light 1 to ‘reference group
50’ - so, if group 50 contained the
values pan 30/tilt 40 light 1 would
now be pointing in the direction pan
30/tilt 40 but it would actually say
‘pan: group 50, tilt: group 50’ or, if
group 50 was called ‘Down Centre’,
it would say ‘pan: Down Centre,
tilt: Down Centre’. If you had to
fix the position ‘Down Centre’,
perhaps because the height of
the light changed, you’d merely
move the light then update group
More importantly, you don’t have
to remember a group’s number. To
set the light to ‘Down Centre’ you
could have typed:
[1] [@] [GROUP] [TEXT] [Down
Centre] [*]
or even just
[1] [@] [TEXT] [Down Centre] [*]
and, in practice you probably
wouldn’t have needed to type all
of ‘Down Centre’ since as soon as
you’d typed enough to make the
group name uniquely recognisable
to the console it would show the full
name at the bottom of the screen
and you could then just press the
[*] key.
Getting Lights To Look Like Other
Lights
You’ve set up a great look on one
moving light - channel 1. You want
channel 2 to look the same. So:
[2] [@] {COPYFROM} [1] [*]
(copyfrom will appear as a softkey
after you press the [@] key)
Note that this won’t necessarily
make light 2 point to the same
place on stage as light 1 - if 1 was
just sitting in a position such as pan
40/tilt 40, light 2 would just copy
these values and so would now be
pointing in the same direction as
light 1. However, if you’d had light
1 set to a reference group position
such as ‘down centre’, light 2 would
be pointing in the direction stored
for it in the ‘down centre’ group
- another reason why reference
groups are useful.
50 - all of the cues that had the
light set to ‘Down Centre’ would
automatically update. There’s more
about reference groups, which are
invaluable programming tools, in
the June 2003 Newsletter. A variant
on this command is:
[1] [@ATT] {position} [50] [*]
which will set light 1’s position
to group 50, ignoring any other
attributes stored in group 50 - so
the same as typing [1] [@] [GROUP]
[50] {@ATT} {position}.
All of the rules about using function
filters, multiple channels or any
combination of these things apply
when using @GROUP.
The same ‘modifiers’ can be used
with COPYFROM as above, so to
copy just the colour:
[2] [@] (COPYFROM) [1] {@ATT}
{colour} [*]
or to make lots of lights look the
same:
[2] [THRU] [20] [@] {COPYFROM}
[1] [*]
or any combination of these.
A quirky, little known, little used,
but occasionally invaluable variant
on COPYFROM is this:
[1] [@] {COPYFROM} [1] [@]
{FULL}.
It’s a strange syntax, but if light 1
had been set to some reference
groups (perhaps ‘down centre’ in
‘red’ and the gobo ‘stars’) it would
now look exactly the same on stage
but on the consoles would be set to
the actual values which were stored
in those groups rather than the
reference groups themselves (ie. it
would say pan 40 tilt 40, colour 1,
gobo 1 rather than ‘down centre’,
‘red’, ‘stars’). This might be useful
if you’d accidentally stored every
attribute for the light into the group
‘down centre’ instead of just the
light’s pan and tilt.
Copyfrom also works in preview
where it has one further use:
[CUE] [901] [@] (COPYFROM} [CUE]
[1]
will make a cue 901 which is a copy
of cue 1 including the look of cue
1 but also its structure - the cue
timing, cue text and cue parts, if
any.
Console Programming Tips, Autumn 2005 (continued)
Storing Information From Live
The traditional way of storing cues
- RECORD - still works as you’d
expect: set up a look on stage,
then either press the RECORD key
or type [RECORD] {CUE] [1] [*] if
working in command line mode.
The complete state on stage will be
stored as the specified cue number.
A variant on this is to use the [RECSUB] key instead of the [RECORD]
key - this will store the look on
stage excluding any channels that
are up on submasters (so avoiding
recording the houselights into
cues!), or any channels that are
running in effects.
More useful in many cases is the
multi-faceted UPDATE command.
This works like a ‘selective store’
command, taking either any
channels that you have changed
(shown in red on the channel
display on a main console, or green
on the channel display on a remote
console in a multi-console system)
or any channels that you specify and
storing them into any location - cue,
Pulling Information From Live Into
Blind
So far we’ve found ways of ‘pulling’
information from preview into live
([email protected] 1), ‘pushing’ information
from live into preview (UPDATE
CUE) and copying information from
one light to another. One last trick is
that you can also ‘pull’ information
from live while working in preview.
In cue preview:
[1] [@] [LIVE]
will set channel 1 to its current ‘live’
value in the currently previewed cue
(with this new level then tracking
on if in tracking mode unless the
QONLY key was used: [1] [@]
[QONLY] [LIVE]).
group, sub or effect step - that you [1] [UPDATE] [CUE] [200] [THRU]
specify. So, you could be in cue 10, [220] [QONLY] [*]
adjust channels 1 and 2 then type: (QONLY required in tracking mode
so that the change didn’t just track
[UPDATE] [CUE] [10] [*] - to store on beyond cue 220).
the changes to channels 1 and 2
into cue 10 and tracking on if in And you can combine update with
tracking mode; this is in most cases the commands described above:
identical to re-recording cue 10
or
[2] [UPDATE] [CUE] [1] [THRU] [50]
[1] [UPDATE] [CUE] [10] [QONLY] [*] [@] {COPYFROM} [1] [*]
to just store the changes to channel
and other commands described
1 into cue 10, not tracking onwards
in more detail in the March 2003
or
Newsletter.
[1] [+] [3] [UPDATE] [CUE] [1] [*] to
store the levels of channels 1 and 3
UPDATE is also used to store
(even though you hadn’t changed 3)
information into groups when
into cue 1 and tracking onwards if in
making reference groups - so to
tracking mode.
store light 1’s position into a new
or, if 1 was a moving light and you reference group called ‘Staircase’:
only wanted to store its position
[1] [UPDATE] [GROUP] [1] [TEXT]
into the cue:
[Staircase] [@ATT] {position} [*].
[1] [UPDATE] [CUE] [10] {@ATT}
{position} [*]
or, if you only wanted to store 1 into
a known range of cues:
Try It For Yourself!
All of the usual tricks work, so:
[1] {@ATT} {position} [LIVE] [*]
would just set light 1 to its current
‘live’ position. This is a really useful
way of presetting moving lights
or colour changers: set the look
you want on stage then go into
preview, scroll up until you find the
cue where you want the lights to
set then:
[1] [THRU] [10] [@] {ATTS ONLY}
[LIVE]
to set all of their attributes, which
would then track onwards if in
tracking mode.
As always, the best way to
get
comfortable
with
these
commands is to try them for
yourself. All work in similar
ways and all can be ‘modified’
in the same ways - by specifying
particular channels, or specific
attributes (1.3, 1.4) or particular
groups of attributes (@ATT pos,
colour, beam), or ‘INTS ONLY’ or
‘ATTS ONLY’, so once you learn a
few it’s easy to start using them
in different ways as required.
40 years service with Strand
On September 9th 2005 John
Wright celebrated 40 years service
with Strand Lighting. Strand
commemorated
this
amazing
milestone during the PLASA show
with a presentation and cake,
which John graciously shared with
our customers. In 1965 John joined
Strand at the Kennington premises
following an interview with some of
Strand’s (and the industry’s) greatest
figures - Phillip Sheridan, Arthur
Earnshaw and Fred Bentham. John’s
thirst for knowledge and skills for
problem-solving meant that an early
move to the R&D department in the
late 1960’s became inevitable.
John’s contribution to product
development has been extensive.
Over the last four decades he has
been involved in most major product
developments including: IDM-R,
MMS, Lightboard and Galaxy control
systems.
His ideas and forward thinking
have helped develop Strand
digital dimming products and his
Tim Burnham presents John with his
“520i console” cake at PLASA 2005
contributions are still in demand
today. John has travelled the world
commissioning
systems,
and
solving customer dilemmas. He
now holds a central role in Product
Support for Strand Lighting. He has
had a varied career with Strand and
has served many of you with typical
enthusiasm, skill and precision.
Group President Tim Burnham
added a personal tribute at the
PLASA presentation: “In the sixties,
New General Manager for Strand Asia
Strand Lighting has appointed
Kenneth Yeung as the new General
Manager of Strand Lighting Asia.
“Ken brings over 25 years sales and
business development experience
in the audiovisual and business
imaging industries to our Hong Kong
operation according Tim Burnham
Strand Lighting Group President.
“His responsibilities include
developing the company’s business
in the region, establishing strategic
partnerships to facilitate business
growth, and managing the group’s
day-to-day sales operation. All of
us are pleased to have Ken join
our team his experience and skills
will enhance our already strong
organization in Hong Kong” adds
Tim.
Ken recently worked with Lighthouse
Technologies Hong Kong Limited as
Director – Sales APAC . During his
time with Lighthouse Technology,
he managed to build the group’s
business in Asia and generated
significant financial results. Based
in Hong Kong native Ken is fluent in
Cantonese, Mandarin and English.
The Strand Newsletter is published electronically four times a year. If you received this copy from an
associate and would like to receive a copy directly please email us at:
[email protected]
Strand was the only game in town,
and I remember as a trainee in the
West End being sent to Kennington
or Gunnersbury for lights or spare
parts. What blows me away when
I think of all the years and of
everything that has happened since
then, is that John Wright was there
then - and he’s still here with us
today! I have only had the privilege
of working with John for a relatively
short time, but I have developed an
enormous respect for his amazing
store of knowledge, his technical
expertise, and the way he pops
up all over the world, just when a
customer needs him - I swear he
travels more than I do! John is a
great and unique guy, and I deeply
appreciate working with him. I
heartily congratulate him on his forty
years with Strand Lighting.”
Everybody at Strand would like to
thank John Wright very sincerely
for his unique contribution to the
company - we look forward to his
50th anniversary!
New Dealer in Sweden
We are pleased to announce the
appointment of Spectra Stage
& Event Technologies AB as an
official dealer in Sweden.
Spectra
have
four
offices
throughout Sweden providing
rental and installation services
for local theatres, TV studios and
event venues.
www.spectraplus.se
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