I missed this article in Forbes when it was first published last fall, but it’s a great overview of a stage lighting designer’s role as told by some of today’s leading designers.
Tag: Stage Lighting
Osram Sylvania has announced that they are discontinuing the manufacture of large PAR lamps (i.e. PAR46, PAR56 and PAR64). They have also announced a voluntary recall of all large PAR lamps manufactured since November 2016.
According to Mark DeLorenzo, Entertainment Business Unit Manager at Osram, previous to November 2016 all large PARS were made in the USA, but that factory is closed and the equipment no longer exists. Their only manufacturing facility for these lamps is in China, and they have had such terrible quality control issues that they don’t see an alternative but to cease manufacturing.
GE is no longer making these lamps, either. I don’t see them on the Philips web site, although I do see off brands available at some online retailers but a quick search finds no 1000W PAR64s. So, we’re coming up on the end of an era. The inexpensive and sturdy PAR is being replaced by products like the Source4 PAR and various LED units.
The following is quoted from the April 20, 2018 issue of ESTA Standards Watch.
There is a proposal to adopt an EU Energy Directorate Eco-design Working Plan 2016-2019 that would effectively end stage lighting as we know it. Opposition to the plan has often been cast in the past as “Save Tungsten,” but the plan would effective eliminate almost all stage lighting technologies after 2020. Comments on the plan are due by May 7.
The plan imposes minimum efficacy requirements on sources and maximum stand-by power consumption limits in sources and luminaires. The minimum efficacy requirements certainly would have an impact on the use of incandescent lamps, which produce light with efficacies far below the proposed minimum; the plan would end their manufacturer or importation into the EU after 2020. However, additive color-mixing LED sources also cannot meet the proposed efficacy requirements. These sources produce light at the extreme red and blue ends of the spectrum, where, due to the relative insensitivity of the eyes to those colors, the lumens-per-watt produced is low. This low efficacy cannot be ameliorated by better light source technology; it is a function of the response of the human eye. Finally, the proposal mandates a maximum standby power consumption limit for sources and luminaires, and this is low enough that it cannot be met by virtually anything that has any electronic control circuitry or motors. If a product has a muffin fan and a DMX512 line terminating resistor, those two items alone will consume all the power that the proposal would allow.
There is an exemption in the plan for luminaires and sources that are used in image capture work (i.e., video), but none for live entertainment, although the same luminaires might be used in studios and on stage. One idea for fixing the plan and keeping theatres from starting to go dark after September 2020 would be to extend the exemption to those products and their light sources that are within the scope of EN IEC 60598-2-17, Luminaires. Particular requirements. Luminaires for stage lighting, television and film studios (outdoor and indoor). That would help keep people from attempting to skirt the energy-saving requirements by relabeling general-service lamps as “Professional Entertainment Lighting Equipment.”
Things you can do:
Sign and share the petition at https://www.change.org/p/the-eu-energy-directorate-keep-stage-lighting- exempt-from-proposed-legislation-changes? recruiter=860058798&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition
Fill out the EU public consultation form before end-of-day May 7 at https://ec.europa.eu/info/consultations/evaluation-and-review-ecodesign-and-energy-labelling-regulations- energy-labels_en
More information about the legislation can be found on the ALD’s website at https://www.ald.org.uk/resources/savestagelighting<
The Stage reported yesterday that “The European Union is considering banning tungsten halogen lamps in entertainment lighting, due to environmental concerns over their energy inefficiency.” There are so many reasons this is hopelessly misguided. Let me list a few.
First, the energy consumption of an entertainment venue is so low because the usage is so low, even for a Broadway or West End production with 500 lights. These theatres run eight shows a week, and average two hours per performance. That’s 16 hours per week, which is only one day of a retail or office space. So a theatre’s monthly hours of operation is equal to only four days of many other building types.
Second, the energy consumption is much lower than the connected load implies. 500 lights at 575W equals 287,500W. However, there’s never a time at which every light is on, much less on at full. A dark, dramatic scene may use only 5% of the total lighting equipment, and that won’t be a full brightness. One rule of thumb is that the usage of theatrical lighting is about 50%, so the 287,500W of connected load comes to only 2,300 kWH per week. That’s for huge shows. An off-off-Broadway theatre or community theatre with only 75 lights and five performances per week uses only 108 kWH per week.
Third, the impact on the entertainment industry, especially smaller and poorer companies, would be devastating. Yes, there are retrofit kits for ETC Source4 lights. However, all other brands of lekos, Fresnels, PARS, striplights, cyc lights, followspots, etc. don’t have retrofits. Tens of thousands of perfectly good equipment would have to be scrapped, but with replacement lights costing thousands of dollars (or pounds) many companies would not be able to replace the lost lights resulting in theatres literally going dark.
Fourth, these theatres would need new power and data distribution. Nearly all LED lights for the entertainment industry have on-board dimming and need to be connected to constant power, not dimmed power. But, nearly all lighting circuits in theatres are connected to dimmers. And, these LED lights need connections to the stage lighting control system, but this is an exponential growth in the number of data lines and the number of data parameters that need to be controlled. So, not only would theatres need new lighting equipment, but they’d need new control systems as well. Great for theatre consultants like Studio T+L, but ruinously expensive for theatre, opera, and music venues.
Fifth (I’m not done yet!) the quality of light and lighting will suffer. The most obvious impact is flicker of lights when they are dimming which, despite the assurances of most manufacturers, is a real, pervasive problem.
Why am I so heated about this topic? Because if it goes through in the UK some bright light of a state or federal legislature will think we should follow their lead. Again, it would be ruinously expensive for many, many performing arts companies. The entire lighting industry is converting to LEDs. In architectural lighting there are very few reasons to decide against using LEDs, so most new installations are mostly LED. The same is true in the entertainment industry. However, there is an enormous base of existing equipment for which there are no retrofit options. Rendering that equipment useless by removing replacement lamps from the market is outrageously heavy handed (and ham handed). Let the industry organically continue its transition to LEDs, don’t force it. The damage far outweighs the benefits.
Throughout the south there are schools, universities and professional theatres with electrical equipment that has been submerged in flood waters from Hurricanes Harvey and Irma. They’re biggest question is, “What can I dry out and use, and what do I have to replace?” NEMA (the National Electrical Manufacturers Association) has a guide for this (NEMA GD 1-2016 Evaluating Water-Damaged Electrical Equipment) that you can download here.
Some larger pieces of equipment can be reconditioned, but that doesn’t mean simply drying them out. It includes using appropriate cleaning agents, and the success of reconditioning depends on the “nature of the electrical function, the degree of flooding, the age of the equipment, and the length of time the equipment was exposed to water.” The problem is that equipment submerged during a flood isn’t just wet, it’s now contaminated with whatever was in the water.
What does that mean for a theatre? Here are some key items that should be replaced.
- Fuses, switches, circuit breakers
- Components containing semiconductors and transistors. That means lighting and sound control consoles, dimmer rack control and power modules, and all LED fixtures.
- Transformers. If the transformer feeding your dimmer racks was submerged, it has to be replaced.
- Outlets and switches
- Wiring in conduit
- Stage cables
- Uninterruptible power supplies
- Communications systems
What might be successfully reconditioned? Not much.
- Conduit and tubing, if it can be completely dried out
- Motors. Consult the manufacturers of your stage and pit lifts.
Yes, it’s a lot. But, it’s better to replace damaged equipment than to risk failure, or worse, of equipment with hidden damage.
Here’s the plug for Studio T+L: Give us a call. We can help you to determine what needs to be replaced, write a specification for the replacement equipment, bid the replacement, and check up on the contractors as they’re doing the work. And, we’re nice!