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	WPI Technical Theatre Handbook: Automated Instruments
	Automated Instruments Self-contained automated lighting instruments that provide such features as color changing, pattern changing, panning and tilting, and strobing are available. These are the most complicated instruments available, and involve a considerable number of technologies. There are literally dozens of different designs of automated lights from as many companies. Much competition exists between these companies, making copyright infringement lawsuits commonplace. One of the most common designs involves aiming a focused light at mirror that pans and tilts. The optics involved in focusing the light are similar to those in an ellipsoidal instrument, but can vary greatly. Often wheels are inserted at the focal point of the optical system, allowing for color or pattern changes. A computer control system coordinates all of the functions of the instrument, allowing the instrument to be run by remote control. A pair of High End Systems TrackSpots (tm) are used at WPI on a regular basis. These instruments are of the type described above, offering remote control of the position of the spotlight as well as color, pattern, strobe, and dimming. Figure 5.8 shows a TrackSpot, and Appendix Q provides specific information about setting up these instruments. It should be noted that, though automated instruments have been available for quite some time, some trepidation exists among lighting designers. Many do not trust the technologies and prefer to stick with traditional lighting. Others claim that the effects produced with automated instruments are tacky and lacking in professionalism. However, many shows have taken advantage of the convenience and wide array of effects that automated instruments offer with a great deal of success. It is left to the discretion of the reader as to what conclusions to draw about automated instruments. Figure 5.8: The TrackSpot, produced by High End Systems, an example of an automated lighting instrument. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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