Hybrid and motorized solutions
Motorized equipment systems have history in the years
Recent. Their reliability, cost and versatility make them part of it.
of many production solutions. Motorized solutions
range from individual forklifts to self-railings
climbing with integrated lighting strips and
equipment for fully motorized studies. Such systems
are common in Europe and provide vertical movement and
horizontal. Usually, each strip of illumination is
attached to a parallel track that holds each termination of the
Crossbars. Then the crossbar moves horizontally,
like a train on rails, backwards and forwards,
according to the need, for a space of 5 (1.52 meters)
in any direction. The latest motorized units
they do not require always moving in parallel to move, nor
even perpendicular to the rail. Other systems
Motorized include the rise and fall of the structures
rectangular rack straps with lighting.
The reasons why the use of motorized systems are Varied:
- Many motorized solutions are part of dead systems modern hung , in this way a hybrid is created.
- They require little maintenance compared to a counterbalance.
- They need less ceiling height to get a network of adequate production.
- Can be installed, incremented and expanded as part of it of a planned upgrade.
- Fully motorized systems may include horizontal tracks for lighting to be placed exactly where you want and can move from horizontal shape wherever it is convenient to leave it fall, so that technicians can access it.
- They are reliable and integrated with DMX controls that they are also used for lighting and include mechanisms Manuals.
However, when talking about motorized systems it is necessary take into account the following considerations:
- They require considerable support from the supplier, either to ensure that when something breaks or does not work well, the studio can have a replacement as soon as possible possible or for regular updates.
- They are still a bit expensive and, unfortunately, when the time comes for the budget, they are evaluated from unfair form, not against competition but, sometimes, against having a motorized system itself same.
- Fully motorized systems need a structural subframe or other similar element where install the structural rails of the system.
- They are mechanical by nature, they require some maintenance and break and wear, always, to the appear when they are needed most. So, you have to plan these situations by analyzing well the suppliers and the guarantee as well as the way to stay protected.
The lighting system
All lighting coupled to the equipment works with slats
of light, or connection strips, which are labeled with
its own voltage attenuation circuits and are distributed
in a balanced way throughout the study. Although it is outside the
Scope of this article to go into great detail, is
important to note that the designer of this electrical system
you have to work shoulder to shoulder with the production designer
of the lighting system to create a distribution system
flexible and balanced.
Distribution and control of lighting energy
Usually, in the United States, when the energy is put into
the point of entry by the energy undertaking, the
First step is to install an isolated transformer (? Y) what will take
480V voltage distribution ? (delta) and will turn it into
208-120V in Y. This is done to prevent feedback from
to the public grid of the energy company. From the
isolated transformer, energy is fed to the boards
of distribution, which in turn charge, by means of a
electric central cable, individual and smaller branches
for each row or lighting connector in the studio. The
electric individual forks end up in a box at the
which rows are connected.
The lighting ribbon is usually an element prefabricated and pre-wired with lighting connectors specified and you are ready to connect in the field or to a existing terminal box. Each output corresponds to a circuit of voltage attenuation that is numbered. Almost always, it's 20 output amps with three (depends on length) outputs of 60 amps for the largest lights (6000 watts). Your numbering is traditionally made with the lowest digits of the circuits of 20 amps, such as 42 to 90, and the largest, such as 601, 602 and 603, reserved for 60 departures Amps.
The number of voltage attenuation circuits, or dimming, of the roof that must be installed is another consideration when a study is planned. Usually, we find that one by every 15 square feet (1.4 m2) is a reasonable average; without However, there may be higher or lower densities based on a preference or a need. It must also be provided low voltage attenuation circuits along the walls. We recommend it is done in a third of points along wall (two locations) and four 20 amp connections with one of 60 amps in half. On the short walls, centre another cluster of four 20 amp outputs. In studies at where variety shows and musicals are frequent and followers (follow spots) are needed, an output of 100 amps must be supplied for each. The size of the conductors that power voltage attenuation circuits must be at least #10 AWG (2.58 mm) for 20 amps. The earth is individual for each terminal box, it is to say, that for every lighting ribbon there must be a connection grounded behind the common panel/location. That is, why less, one #8 AWG (3.26 mm) cable.
We have two final thoughts on energy of lighting: the first is that all circuits of voltage require a dedicated neutral and not provide it can result in an electrical humm typical of neutrals Shared.
The other thing is that all electrical charges must be Balanced. For this it is necessary to plan the location of the voltage attenuation circuits, so that the different Electrical phases are distributed in equal parts throughout the production area. This is the best thing to do with the advice from a production lighting designer.
Low voltage distribution
The other important electrical aspect of a studio design
is the integration of low-voltage cable paths
for emissions. When speaking in general terms, they exist
boxes with video and audio terminals to which the cameras,
microphones and other equipment are connected. These must
be powered by a variety of cables, which, in turn,
they have to find their way to the control area of the
production. Of these, the only ones that must be in a duct
electric, all the way from the box to its completion,
are the lines of the microphones. This is done to shield and
prevent electrical and noise interference. You don't need to
the other cables are in a conduit, only to be handled
and are accessible to add or replace.
The location of these boxes is optional and they are chosen by convenience, based on studio size and productions Planned. In smaller studios, almost always, they are installed to cover radii of 30 (about 9 meters). In studies larger with acoustic treatment, designed for that are flexible and for a variety of productions, the radio it can be increased to 50 (about 15 meters). In spaces of specialized production, its placement must be very well coordinated for the access of technicians and the location of scenic elements.
To feed these boxes, the study must be incorporated into your global cable management strategy and the location of cables boxes, cable trays and ducts should be planned and documented.
All lighting is controlled through controls Low-voltage DMXs requiring empty ducts and boxes for the installation of cable controls. DMX boxes are placed at the end of the studies and adjacent to the doors for the personnel. You are likely to have additional locations that they will depend on specific applications.
Other energy and illumination
Frequently overlooked as part of the lighting is
what we call work lights or house lights. These are used
during the maintenance of the studio, the installation of the
scenarios and as general lighting. We prefer
use fluorescent lighting with as few lumens as possible
possible, by size of the light. The smaller it is, there are
lower chances of it overlapping a production light.
We have seen that HID lighting is used, but due to its length
warm-up period, you should be well advised to understand
its implications. We have also seen incandescent lights of
500 watts (and more) used in studies of varying heights, but
are more expensive to operate and need lamp replacement
more often than fixed ballasts.
In addition, building codes require signage and lighting for the exit. The first thing must be coordinated very closely with the stage design in some types of productions and studios. Design emergency lighting, it usually involves selecting a group of house lights and put them in an emergency circuit that is backed by a generator or battery system.
As a final note, your production space should be provided with a standard 120V power service for operate tools and scenic elements such as TV monitors, stage lights, etc. This, too, must be planned to be flexible and in accordance with the other requirements of the study. Also, it is usual to have a companion switch of 200 amps (or as many amps as needed) 120V-208V for distribute central energy. This device has circuit breakers and a series of special connectors in the part lower, which, in the most advanced models prevent accidental interference or disconnection. They are also equipped with an external switch to disconnect them, by safety.
To close
This third article in our series is an introduction to the
most outstanding topics related to electrical design
of a production space. It is important to note that the
activities that have to do with the design of a
these fall, for the most part, on an electrical engineer who
understands your profession well but that, many times, does not have the
necessary experience to deal with the topics we have discussed.
It is important that your production manager, your designer of
lighting, your engineering department and your architect
work together to meet specific requirements
of the project.
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