Arizona Essential Standard: Apply technical knowledge and skills to safely create functional scenery, properties, lighting, sound, costumes and makeup.
Topic: The Ellipsoidal versus the Fresnel
Class: Beginning stagecraft
Materials: Diagram worksheets, flashlight, an ellipsoidal, a fresnel,
a chalkboard & chalk
Activity #1: Introduction to the Instruments
Ask for a volunteer to work the flashlight and turn off the lights briefly. For the demonstration, have the students describe what kind of light the flashlight is projecting. Then have a student cup a notecard around the beam of light to show the difference. The light should be more directional, smaller, and more intense. Let them know that we will be talking about the two instruments that project in these different ways: the fresnel and the ellipsoidal.
Activity #2: Diagram Worksheets
Take the students through the parts of an ellipsoidal and then a fresnel. Have the students take notes on the worksheet in preparation for working with the lights in production work. Point out the differences in construction as it applies to reflection, focusing and projection. Also talk about the quality of light projected and terminology, associated with each instrument. Let the students touch and experiment with the instruments so they are not afraid to break them later.
Activity #3: Review
Use the original concentration (slap-clap-snap-snap) game to review the parts of the instrument. Establish a rhythm, point to a part of the instrument, and the class must call out the name in unison (and rhythm).
Activity #4: The Race
Divide the class into two groups, form two straight lines facing the chalkboard, and using the instruments, point to a part on the instrument. The first two students in line, closest to the chalkboard, must race to see who can write the name of the part on the board. Spelling and completeness count.
Created by April Leilani Novak
ELLIPSOIDAL SPOTLIGHT
The ellipsoidal spotlight is the work horse of lighting. It is
primarily used for situations that require
precise control of the light, such as front light. The design of the
ellipsoidal is such that the rays of
light coming out of the instrument travel relatively parallel. Ellipsoidals
have very little flare. Flare is
the extra light that escapes from the cone of light. Because ellipsoidals
are capable of producing a
very sharp edge, we use them to project patterns Patterns are also
referred to as "gobos, cookies, or
templates". Ellipsoidals also has different names. One of the most
common names is "Leko". Leko,
however, is a brand name like "Xerox or Kleenex". You might also hear
them called ERS's, short for
ellipsoidal reflector spotlight. This describes the fact that the reflector
in the instrument is elliptical in
shape.
Below is an illustration of an ellipsoidal. This is a generic view of
the outside. The parts that are
labeled will be found on most ellipsoidals. Names may vary, so it is
best to learn the function of each
part. Study the illustration so that you will be able to follow along
during the demonstration in lab
class. It is important that you know the parts of an ellipsoidal. It
will enable you to understand the
instructions you are given during lab.
AXIAL ELLIPSOIDAL
SIDE VIEW
Below is an illustration of a ellipsoidal cut in half. As with the last
illustration, this is a generic view.
Most ellipsoidals will look like this. Study this closely because it
will help you when you work with
ellipsoidals.
AXIAL ELLIPSOIDAL
CROSS SECTION
Ellipsoidals come in different sizes. The are referred to by their focal
length of degrees of beam
spread. The most common focal length sizes are; 4.5"x6" 6"x9", 6"x
12", 6"x l6", 6"x22". The
focal length sizes compare to the degrees of beam spread. In
the same order, they are; 50 degree,
40 degree, 30 degree, 20 degree, and 10 degree. Notice the smaller
the measurement of the focal
length the larger the degree of spread.
On most instruments that are referred to by their focal length, you
can tell their size by looking at the
barrel of the instrument. The longer the focal length the longer the
barrel.
There is one other type of ellipsoidal, the zoom. It is called a zoom
because it has two movable lens
that change the focal length. This change causes different size
pools of light to be produced. The
zoom is very handy when you need flexibility in the size of the pools
of light. Zooms also work well in
blending with other fixed focus instruments.
FRESNEL
The fresnel produces a diffused pool of light with a soft edge; Because
a fresnel produces diffused
light it has a fair amount of flare. Flare is the extra light that
escapes from outside the edge of the
cone of light. It is the amount of flare from fresnels that keeps them
from being used for front light.
Fresnels are mainly used for back light, soft washes, or areas that
do not require precise control
You can shape the beam of light from a fresnel with barn doors and
top hats. The fresnel gets its
name from the fresnel lens that it uses.
This is a generic outside view of a fresnel. The parts are labeled.
Study the illustration so that you will
be able to follow along during the demonstration in lab class.
FRESNEL
SIDE VIEW
Below is an illustration of a fresnel cut in half. Study this closely
because it will help you when you
work with fresnels in lab class.
FRESNEL
CROSS SECTION
The fresnel is used in the theatre in two different sizes. They are
6" and 8". Of course, there are many
different sizes available.
Theatre Lighting Before Electricity Outline
Begining to 1600
Greeks - open theatre utilized sunlight play organization - course
of a day
Renaissance - oil lamp, torch, candle Jtalians - first to manipulate
light - new innovations
Restoration to 1800
Court Theatre - money, continential advances
Commercial Theatre - candle burning chandeliers
Chandeliers - front stage concentration, forestage hazards - dripped
hot grease, heat
Footlights - used as early as 1670
18th Century - Spermaceti and wax dipped candles
- 1720 - molded candles
- candle snuf fers - trim
wicks, haggled
- removal of chandelier
by Garrick
- lighting behind proscenium,
across apron
- float: dimming by lowering
trough
- 1780 - Argand burner
Gas in the Theatre
1804 - Lyceum Theatre -
exterior
1815 - Covent Garden - exterior,
Grand Hall, staircase
1815 - Olympic - exterior,
Saloon, interior
1817-18 - Covent Garden,
Drury Lane - immense central chandeliers
Lesser Theatres - King's,
Adelphi, Astley's Amphitheatre Benefits - cheaper, more
control, no wicks or wax, darkening ability, illumination of specific areas,
actors
withdraw behind proscenium - create new atmosphere, enhanced scrim use
Negative aspects - unbearably
hot, offensive odor, make-up and acting styles had to be
changed (which actually was a benefit)
1820's - limelight - took
awhile to catch on
- moonlight effects, bright washes, spotlights follow spotting, general
illumination
Footlights - sunk into stage,
angled, color changing
Irving - first modern lighting
designer
- color, design on stage
- control of co>