There are several different types of theatrical lighting fixtures, used for different applications. Almost all fixtures have a globe (also called a lamp or “bubble”), a reflector, and a lens. Following is a description of commonly used lighting fixtures and their applications.
Fresnel (pronounced “fren-el”)
Fresnels are named for the inventor of the fresnel lens, and distinguished by the concentric circle pattern on the lens (see the first image below). They produce a soft edged beam of light, and so are generally used as part of a wash. The beam angle of a fresnel can be set between 6 and 60 degrees. They are focused by adjusting the position of the globe and reflector in relation to the lens, and are often equipped with barn doors to shape the beam (shown in the second image below).
The Hayman Theatre has two types of fresnels. There are 28 "mini" fresnels, with 500 watt globes. There are 9, 1200 watt fresnels. The 1200 watt fresnels are physically larger and around twice as bright as the mini fresnels.
Fresnels are a good choice for sidelight and toplight. With the low ceiling of the Hayman Theatre, it is better to use the mini fresnels as toplight, as the large 1200 watt fresnels can get in the way of frontlight and cause shadows.
500w mini fresnel, without and with barndoors
1200 watt fresnel
Plano Convex (PC, also known as “pebble convex”)
The housing of a PC is generally very similar to a fresnel, but is slightly longer. The lens has a smooth convex surface, with a pebbly texture inside the glass (see the image below). PCs have a similar beam spread to fresnels, but have a harder edged beam and so do not blend as well. They are often slightly brighter than a fresnel of the same wattage. PCs are focused in the same way as fresnels.
The Hayman Theatre has eight 500w PCs. They can be used for area highlights or soft edge specials.
Profiles
Profiles produce a strong, defined light, and have the flexibility to be used for many applications. They are focused by moving the lens or lenses in relation to the static globe and reflector, and the beam is shaped by shutters. The lens configuration allows a sharp or soft edged beam. The Hayman Theatre has two types of profiles, Pacifics and Acclaim Axial Zoomspots.
Pacifics
Pacifics have a 1000 watt lamp with interchangeable lens tubes. They have a large heatsink on the back of the lamp, allowing for the cool coloured beam that gives Pacifics their name. The range of their beam angle is determined by the lens tube. The Hayman has two types of lens tubes; 12-28 and 23-50. 12-28s can be recognised by their wide lens tube (the first image below), and 23-50s by their narrow lens tube (the second image below). In identifying them, remember the mantra, "The wider the barrel, the smaller the angle."
The Hayman Theatre has eight Pacific 12-28s and eight Pacific 23-50s. The 23-50s, being wide and bright, are a good choice for frontlight when given a soft focus. The 12-28s are great for specials, as they can be focused to a hard or soft edge and accurately shaped by the shutters. They can also project gobos and fergos.
Acclaim Axial Zoomspots
Acclaim Axial Zoomspots have a 650 watt lamp, and a beam spread of 18 to 34 degrees. They are much smaller and lighter than Pacifics, but the light is not as bright and they tend to be slightly warmer in colour.
The Hayman Theatre has seven Acclaim Axial Zoomspots. They are a good choice for specials, when the intensity of a Pacific is not needed. They can also project gobos, but not fergos.
LED strips
Unlike conventional or generic theatre lights, that use a tungsten globe, the LED strips have a series of light emitting diodes (LEDs). LEDs are much brighter than tungsten globes of the same wattage. They can also be virtually any colour, and can be changed via the lighting desk from cue to cue, which gives flexibility. LED strips are plugged into straight power, not dimmers. Their colour and intensity is controlled via electronic signals from the lighting desk, known as DMX control.
The Hayman Theatre has 8 LED strips, semi-permanantly mounted on the upstage wall of the theatre. They are used together to backlight the full stage or one at a time to backlight half of the stage.
Moving lights (also called robotic lights or intelligent lights)
Moving lights provide great flexibility. Not only can the intensity be controlled, but also the colour, size of the beam and position on stage (or anywhere in the auditorium). This means they can be used for multiple functions, without having to manually change the focus or colour. They can be used like generic lights or programmed to perform live moves, such as following a moving performer, or “chases,” where they change their colour, beam attributes or positions live to create interesting and exciting effects. Like the LED strips, they must be plugged into straight power rather than a dimmer, and receive information from the lighting desk via DMX.
The Hayman Theatre has two DTS Nick NRG 1201 moving lights. They are semi-permanently rigged on LX 2. Used together, they can cover the stage when at full flood. They can be spotted small enough for use as specials.
The Hayman also owns 4 Martin MH5 moving lights. These are rigged 2 onstage and 2 on lx3. The can be used with the inbuilt gobos and colour wheels. They take some time programming for a show
We also have 2 Robe Pointes. These are the larger moving head profile lights rigged on the ends of LX3. They have a large number or "Gobo" wheels and colours.
With 8 LED Profile units that can be placed anywhere onstage, you have the freedom of having 1000's of colours at ease.
When using moving lights, it is important to consider several factors. As they have many parameters, they often require more programming time than generic lights, which only have one parameter (intensity). The quality of light is quite different from tungsten lights, appearing quite cool compared to the warm tungsten, and they can be difficult to blend in to a wash. Careful planning may also be required to make sure the lights are correctly programmed to avoid live moves, when the light can be seen moving into position. In some circumstances this may be the desired effect, but generally not so in theatre.
Flood lights
Flood lights produce a very wide, even beam that “floods” the stage with light. They have a long tubular globe and a reflector, but no lens. In the Hayman they are often used as footlights, and can also used to light walls, backdrops, or cycloramas. The Hayman Theatre has six floodlights in stock.
PAR cans
Parabolic aluminised reflector (PAR) lamps consist of a combined globe, reflector and lens, in a simple housing (the “can”). Due to their light weight, bright output and rugged, simple construction, they are commonly used in clubs and music concerts. There is little ability to focus a par can, apart from the position of the oval shaped beam. The lamps come in a range of fixed beam angles and sizes. The Hayman Theatre has a stock of small PAR 16 lamps, often called “birdies,” which may be used for footlights or small scale illumination.
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