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	WPI Technical Theatre Handbook: Glass, Gelatine and Plastics
	Glass, Gelatine and Plastics Several methods exist for changing the color of light that lighting instruments project. Most of these methods involve the placement of color media in front of the instrument. The most familiar of these methods involves the use of tinted glass. This is a reasonably functional method, but doesn't prove cost-effective or practical when a large variety of colors are desired. !sX The next most common method involves a material known as gelatine, or less formally, gel. Gel is made from synthetic dyes mixed with animal or plant jelly, and because of its makeup has many negative side-effects. The main problem with gel is that it fades rapidly under high-intensity, high-heat lighting instruments. Also, gel becomes brittle over time and is destroyed when it comes in contact with water. This is the primary reason that plastics are used to accomplish the same task. Acetate or polyester, in combination with synthetic dyes, make up what most modern lighting designers and technicians refer to when speaking of ``gel'' in the noun form. Plastic works reasonably well as a color media, but still suffers from fading, and tends to warp or burn out after a period of time. Dark colors such as blues tend to be more susceptible to these problems than lighter colors. Several companies sell color media, the most common of which are Rosco (under the trade names Roscolene and Roscolux), GAM, and Lee. Swatchbooks that contain samples of color media are generally available free of charge from the companies or their distributors. Each company has their own scheme for numbering their colors. For example, GAM 250, Lee 106, Roscolene 823, and Roscolux 27 are all approximately the same pure red color. Plastic color gel typically is purchased in large sheets (approximately 2 feet by 2 feet), and usually need to be cut down to fit into the color frame for an instrument (see figure 5.11). At WPI, most gels are kept for later use, so it is very important that they be marked with a grease pencil after they have been cut. Typically the marking includes an abbreviation of the manufacturer name and the color number. Figure 5.11: A typical color frame, used to support a cut piece of color media on the front a 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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