By Richard Cadena
Computerized lighting fixtures: The paintings and technological know-how of relocating gentle in Theatre, concert and leisure is still the main relied on textual content for operating and aspiring lighting fixtures execs. Now in its moment variation, it's been absolutely up-to-date to incorporate new advances in lamp resources equivalent to LEDs and plasma lamps, automatic and programmable monitors, updates for dealing with colour, and new tools for utilizing electronics. Its transparent, easy-to-understand language additionally contains sufficient precise info for the main skilled technician and engineer.
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Additional info for Automated Lighting: The Art and Science of Moving Light in Theatre, Live Performance, and Entertainment
Dual clamps also provide more stability for moving lights and help prevent rotation due to the torque generated when the ﬁxture is panned. In some cases three clamps are used for more mounting stability. There are many different types of clamps and couplers, including cast iron c-clamps, but half-couplers offer the most stability and security. Regardless of which type of clamp or coupler is used, a safety cable should always be used with lighting instruments (Figure 3-6). Figure 3-5 Many automated luminaries are rigged with two c-clamps or half-couplers.
After considering Vari-Lite’s documentation and additional material submitted by Variable-Parameter, the Patent Ofﬁce announced that it would recertify the von Ballmoos patent as valid. Vari-Lite decided to settle out of court. In July, 1988, Variable-Parameter and Vari-Lite entered into a consent decree by which Vari-Lite accepted the von Ballmoos patent as “ . . duly and legally issued . . good, valid and enforceable . . ” and that Vari-Lite’s Model 100 and Series 200 systems were . . ” Vari-Lite paid Variable-Parameter $1,000,000 for a limited covenant not to be sued under the patent.
This happened with the inventions of calculus (Leibnitz and Newton) and the electric light bulb (Edison and Swan). ” So it seems that the idea of using remote control of the pan, tilt, and focus (PTF) of a spotlight came into the collective consciousness of the lighting industry in the early 1960s. It was then that a young lighting designer named Jules Fisher had been pondering the problem of lighting a musical production of Peter Pan in the round. Synchronicity 13 “I was working at the Casa Mañana arena theatre in Fort Worth, Texas,” he said.