Let Your Light Shine! (but which one?)

 

Those of you that have been reading my articles, both on this site and other publications, for which I have written, know that I am a “punster”. Forgive me, we must be what we are, I will try not to punish you too much……sorry.

In this first in a series on the technology and artistry of concert and event lighting, I thought it would be a good idea to identify the different lights or “instruments” available to you. Therefore this article will be a simple lexicon or vocabulary list. We will add to this list in future articles, but this will get you started. I feel the same about lighting as I do about microphones, there is no such thing as a bad lighting fixture, only bad lighting technique. With some imagination and knowledge, even the most boring light source can be made to shine (oops) under the right circumstance and usage.

PARs or Parabolic Aluminum Reflectors. These are the basic workhorses of lighting design.  Their use is general coverage and they come in a variety of sizes and lamp designs. The PAR-64 is by far the most common with lamps available in M, a medium flood; N, a narrower focus, or even VNSP, very narrow spot; and more recently W, that’s right, a wide flood. PAR Cans as they are often called, are very dependable and a cost effective, dimmable light source.  There are additional sizes available from the PAR 16 through the 64. Sometimes these sizes may be “banked” together in groups of 4, 6 or 8 to produce audience lights or blinders, and cyclorama or up-lights. Furthermore, gels can be added to the PARs to add color to the design.

Fresnel  (pronounced fernel, the q is silent) Used more for studio and theatrical productions, it will rarely be seen in concert and event lighting due to its weight, size and general inefficiency when compared to a PAR lamp. A general wash lamp, don’t be too concerned with it unless you just happen to have a bunch lying around and little or no budget for new lighting. These are fast becoming a museum piece for concert lighting.

LEKO is named after the two gentlemen that developed this light, Ed Levy and Edward Kook. LEKO is actually a registered trademark of the Stand Company so the generic term ellipsoidal, short for ellipsoidal reflector spotlight, is often used. While somewhat expensive and fragile due to multiple lenses used, the ellipsoidal has its uses when a sharp edge or projected image is needed. They can add very defined areas of lighting, (spotlighting) and if the talent will consistently “hit their spot” these instruments can add much to a lighting design scheme.

Follow Spots as the words denote, are high intensity lights capable of throwing a very controlled pattern to the stage.  They follow the performer’s movements and usually highlight or lead the audience’s attention to where the designer or show producer wants them led. Somewhat out of fashion because of newer technologies, they never the less have a place in certain show or presentations. They do require an operator and therefore some type of communication (headset/mic) with the events producer which is often impractical or problematic (read: expensive).  

The most exciting innovation in concert lighting in recent years has been the introduction and development of automated lighting fixtures. Now in their fifth and even sixth generations of development these lights deserve their own article, and with that as a teaser, I invite you back for the next article in this series. We will look at automated fixtures and a few other special instruments to add to your lighting arsenal.

I hope this article has been illuminating for you. See you soon!

Dan Yeaney