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1954-55 Theatre Catalog, 12th Edition, Page 195 (159)

1954-55 Theatre Catalog, 12th Edition
1954-55 Theatre Catalog
1954-55 Theatre Catalog, 12th Edition, Page 195
Page 195

1954-55 Theatre Catalog, 12th Edition, Page 195

than being aimed straight down the lamps are aimed 5 to 10 degrees toward the stage. The aiming angle is such that the back edge of the spotlampls diverging beam is nearly vertical. Because of the aiming angle, patrons sitting behind the lamps are not distracted by them. The front row of units is located so that no direct light reaches the screen. It is recommended that the downlights be controlled by a dimmer for two reasons. First, the lights can be brought up gradually after the show so that patrons are not suddenly subjected to the lamps full intensity. Second, the level of illumination can be adjusted to provide adequate illumination during the show for safe circulation.

As in the lobby, reflector color lamps offer many opportunities for color modelling in the auditorium. Managers of many smaller theatres are using reflector color lamps during intermissions to light the stage curtains, as well as the curtains on the auditorium walls. A three-color system with lamps on 6inch centers is one method. In this case, lamps should be at least 18 inches from the curtains for a reasonably smooth lighting effect. These lamps have also been used advantageously in many older theatres for footlights. This is particularly true in footlights which contain no individual reflectors; those that are merely a wire-way with sockets on 3inch to 6-inch centers. While additional shielding is sometimes necessary, the combination of an adjustable or swivel socket. extension and a reflector color lamp provide a more eflicient and economical system than the older dipped or natural-colored lamps. This same combination is also good for trough-type border lights. Stage lighting equipment using PAR and R lamps (border lights, strip lights, and spotlights) is available. Reflector lamps may also be used in other types of border and footlights, but the economics of the particular situation should be considered before a change is made. Despite the longer rated life and the convenience of the reHector lamps> it may be more economical to use regular lamps with reflectors and roundels or gelatine.

R-52 lamps, in appropriate housings, mounted on the gridiron are well suited as fly-loft work lights. PAR-56 floodlamps and smaller reflectorized lamps are also convenient as portable work lights for janitors and maintenance men. A theatre on the west coast uses PAR56 floodlamps for a very unusual janitorls work light. A bank of lamps is placed in the aisle and aimed along the floor under the seats. making it easy to see and to work. Many maintenance men are using R-4Ws or PAR38ls either in clamp-on sockets or on a small portable stand. This type of equipment is convenient for providing the light necessary to repair seats or carpet and to do the many other odd jobs which are necessary.

EXTERIOR The VAR line of lamps have :1 gran many uses outside the theatre besides the entrance. Outside an exit, a PAR-38 lump will provide enough light for patrons leaving the theatre. The rugged


WHEN THE PATRON enters the theatre a path of light can lead him to the auditorium, and to the usher or sign that is directing traffic.

bulb is not too easily damaged or broken. PAR-56 floodlamps may be mounted on the top of the building to light an exit alley, where a narrow shaft of light is needed.

Parking Lots

As to the lighting of parking lots, two methods are most frequently used for smaller lots:

a.) Floodlights mounted on a building

and directed toward a parking lot.

b.) Floodlights mounted on poles at

the outer edge of a lot and directed inward. PAR lamps are applicable in both methods A and B-particularly for small or irregularly shaped lots.

Method A is a good solution for narrow lots which are next to or between buildings. It offers the advantages of easy mounting and easy maintenance. PAR-38 floodlamps mounted 25 feet high, 12 feet on centers, aimed 45 degrees downward and perpendicular to the building will provide adequate coverage from the building out to 80 feet, The average illumination will be about 1 footcandle. Except for nearby homes or hotels, the brightness of the lamps and stray light on adjacent property will not be objectionable.

Method B eliminates these two factors and provides good utilization of light. Three PAR-38 floodlamps on 25-foot poles, which are on 35-foot centers are one Solution. Aimed down 45 degrees and 60 degrees apart, they will also cover an 80-foot strip.

Two other methods of lighting are usually used for larger parking lots:

c.) Floodlightng equipment mounted

on high lowers throughout the lot.

(1.) Conventional street lighting equip ment on appropriately spaced standards.

For method C, one solution is 12 1500watt enclosed floodlights per 80-foot polo, poles mounted on 400-foot centers.

ANOTHER TYPE of lamp which has many uses in a theatre is the sign lamp. These lamps may be had either clear or in colors for outdoor use.

The lighting result is dramatic and because four poles are needed, appearance of the area is clean and uncluttered.

For method D, incandescent, mercury, color-improved mercury, or fluorescent units are used. Of particular interest is fluorescent, for its distinctive appearance, low operating cost, long life, and, as contrasted with either mercury type, good color effect on the appearance of patrons and automobiles.


The drive-in theatrels power to attract attention, its identification, and its ability to handle cars without congestion are important. A well-lighted entrance and a floodlighted screen tower supplement the lighted attraction board and add tremendously to the attractive power of a drive-in. As on the theatre building, PAR lamps can be mounted on the screen tower, or on the ground near it, to floodlight it. Another method is the use of a canopy containing reflector lamps at the top of the tower. These lamps should be on 18-inch centers and 18 inches or more out from the tower if white light is used. If in color, spacing must be reduced in proportion to the absorption of the color filters in order to produce similar effectiveness. Colored light on colored surfaces can produce unique and potent effects. This not only imparts distinctiveness, but helps get attention by being different. Blue light on a blue surface, for example, can produce an illusion of great depth. Or, alternating red and green light on a rod and white design will create startling changes in pattern, brightness, and color. Reflector color lamps are a convenient source for this purpose, providing they are protected from rain and snow. To produce equal color effects, use numbers of reflector color lamps in the following proportions. 1 white: 2 pink: 2 yellow: 4 blue-white: 5 red: 8 green: and 10 blue. Floodlighting in
1954-55 Theatre Catalog, 12th Edition, Page 195