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Some Helpful Tips & Information for you:
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The STL 66 lbs. Boom Base
Gobo Patterns
Photometric Information
"Disappearing Effect"
Intelligent Controllers |
Gobo Effects
Safety Cables
Selecting the right gel
Diffusion & Color Correction |
The STL 66 lb. Boom Base: Custom-designed
by our Special Projects Department, there’s nothing
else like it on the market today, and this heavy
boom base has just about every feature you’ve ever
wished for. It’s got built-in carrying handles,
and is stackable. The upright attachment bushing
accepts up to a 1-1/2” steel pipe, using a pair of
set bolts to secure it, so smaller diameter pipe can
also be safely used if desired. The 4 mounting
holes, one at each corner, allow the base to be
securely attached to the stage floor or surface,
increasing stability and safety. Shims at each
corner keep the base just off of the floor, for ease
of grabbing when moving or lifting the base. The
corner holes can also be used to attach casters, for
a handy “TAS” rolling base assembly. The STL base is
epoxy-coated in semi-gloss black paint. Weighing in
at a hefty 66 lbs. it’s a real workhorse, and the
only boom base you’ll ever need!
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At STL, we can provide gobo patterns from
your custom artwork, whether it’s a company logo,
special theme, or advertising slogan. Gobos are
available in standard brass or stainless steel
(ideal for simple line art and black/white images)
or full-color glass lithography (reproduces any
image, just like a slide projector). Custom
gobos can be valuable and exciting marketing tools.
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Tips on photometric information:
When unfamiliar with the performance of a particular
fixture, it helps to compare the photometric data
with that of a familiar instrument, helping you make
an educated evaluation. Keep in mind that several
variables affect fixture light output
characteristics at any given distance from the
lighted area or object. Lamp wattage, beam angle,
distance from illuminated target, reflector and
optical efficiency all affect the overall light
output of a given fixture. STL
maintains an extensive library of fixture
manufacturer’s photometric data for your reference.
We’re here to help if you need assistance!
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How can I do that magical “disappearing
effect”, where scenes are both hidden and
revealed in front of and behind a scrim? It’s quite
simple, really. First, you’ll need a scrim made
using a loosely-woven scenic material. Sharkstooth
scrim works best, white or black depending upon your
specific scenic requirements. The scrim is used to
separate two acting areas, one in front and one
behind. Next, when lighting the front acting area,
light the scrim (also from the front) at a very
steep angle, with no lighting levels on the area
behind. The reflection of the scrim lighting on the
front surface will be sufficient to make the scrim
appear opaque, providing a backdrop for the front
acting area while effectively hiding the area
behind. Finally, lower all lighting levels in front,
raising the lighting levels on the area behind, and
- voila’! - instant lighting magic, the scene behind
the scrim appears. STL also provides
theatrical fabrics and custom-made theatrical
drapes. Call for a free estimate on the softgoods
that fit your needs.
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The various controllable features of
intelligent fixtures, called “attributes”, are
usually controlled using the standard DMX protocol
found in most control consoles. These attributes,
such as pan, tilt, color, gobo, speed, iris, and
intensity are assigned
a corresponding DMX channel during the fixture and
system setup process. The fixture’s DMX start
address is assigned to the first in the set of
attributes for that fixture. All subsequent
sequential DMX channels are then assigned to that
fixture for the rest of the attributes to be
controlled. For instance, if a fixture requires 16
DMX channels to control all of its attributes, and
its start address is #1, then all DMX channels from
1-16 will be assigned to that fixture. Some control
consoles, while efficient for a theatre dimming
application, can be quite cumbersome to program for
moving lights. There are quite a few little tips and
secrets to using a moving light console to its
fullest extent. STL offers many different types of
control consoles specifically designed for moving
light applications. Come talk to us about your
needs, and we’ll be glad to find the console that’s
right for you!
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Gobo Effects: Try using two different
gobo patterns in a Twin Spin or Double Gobo Rotator
device. By rotating each at different speeds,
or in opposing directions, you can create endless
dynamic pattern and texturing effects. Try
experimenting with focus, adding a static gobo and
color for even more possibilities.
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Safety Cables: We recommend using safety
cables as an effective redundant safety
backup for all of your lighting fixture attachments.
In real life, human error can lead to loose
attachments, and clamps could also fail. Without a
safety cable, you have no backup to keep the fixture
or attachment from falling. STL has them available
in stock, in both galvanized and matte black finish.
Safety is no accident. Be safe and use a safety
cable!
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Selecting the right gel for your application
is subjective, and can be very difficult for the
novice designer. At STL we have a number of very
experienced and competent designers on-staff to help
explain to you the many nuances of color gel
selection. We can help you learn more about how
color can impact scenic elements and costume
designs, and how it can affect the mood of a scene.
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| Diffusion material and color correction media
is widely used in the Film and Video industry for
controlling or softening the otherwise harsh beam of
light from an uncovered fixture lens. Diffusion
material is available in a wide range of styles to
perform many different beam-controlling functions,
all basically intended to reduce intensity, control
shadows, and soften beam edges in a predictable
manner. The softer the beam of light, the less
pronounced the shadows produced by the light. Color
correction media helps to correct the spectral
output of a lamp source, or to match the output of
several sources having different spectral
characteristics. Video and film cameras are highly
sensitive to the color temperature and spectral
output of a lamp source, and without color
correction media, the final product may contain
undesirable light and color characteristics.
Remember that the camera is much less forgiving than
your eye - just call STL and our knowledgeable staff
will be glad to help you understand why correctly
balanced lighting sources are critical to
well-produced film and video. |
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