Automated Fixtures

1. What is an automated fixture?

An automated fixture -- also known as a moving light, intelligent light or "wiggle" light -- can be remotely focused (or refocused, colored, shaped...) from the control console.

2. What was the first "practical" moving light? When was it introduced?

Although Century Lighting (now part of Strand Lighting) included a "Remote Control Spotlight" in their 1960 catalogue, the first practical moving light, the Vari*Lite's VL1 was introduced by the English band: Gensis at their Abacab Concert in September 1981. Even though only 44 units were used at that first performance, the Vari*Lite soon became a standard feature in the light plots for the major touring artists of the 1980s -- David Bowie, Linda Rondstadt, The Who, Diana Ross, Barry Manilow...

3. When did they move from the touring concert field to the theatre stage?

Eight years later (September 1989) English designer David Hersey introduced moving lights to the London West End when he used 19 Vari*Lites-- a combination of 9- VL2 (Spot) and 10- VL4 (Wash) fixtures -- on producer Cameron Mackintosh's Miss Saigon at the Theatre Royal Drury Lane. This production arrived at New York's Broadway Theatre in 1991.

Today most large Broadway musicals use automated fixtures. The Hairspray (August 2002) plot, for example, includes 496 conventional units (120 with Wybron Coloram II scrollers) and 56 moving lights from Martin Professional, Vari*Lite and High End Systems. Thirteen of these 56 units are hung front-of-house. Three on the Far FOH Truss, 6 on the Near FOH Truss, and 2 on each Near Box Boom.

4. What is the difference between a spot fixture and a wash fixture?

A spot fixture, such as the VL2 (or StudioSpot), generally includes a gobo wheel and produces a hard edged pool of light -- much like an ellipsoidal. A wash unit, such as a the VL4 (or StudioColor), produces a soft edged pool of light -- much like a PAR lamp or fresnel.

StudioSpot®

The StudioSpot is the hard-edged companion to the StudioColor® wash light. It projects a clean crisp image which will cut through a color wash. The unit features (1) 10 gobos (which are installed into the two gobo wheels), (2) 35 colors (through subtractive color mixing using two color wheels), (3) an 18º fixed beam angle lens system, (4) a variable speed iris, (5) mechanical-optical dimming and (6) precision focusing. With the normal 18º lens and a 30' throw, the StudioSpot produces a 270 foot candle, 9.5' pool of light .The unit weighs 59 lbs, uses a 575 watt (9000 lumen) discharge lamp and requires 24 DMX control channels plus a 110v power supply. (Cost of a StudioSpot CMY Auto (with lamp): $ 8, 122 at Stage Technology)

StudioColor®

Using the Cyan-Magenta-Yellow subtractive color mixing system, the High End System StudioColor 575 wash light provides the designer with (1) a virtually unlimited choice of colors, (2) mechanical-optical dimming, (3) an 8º to 22º selectable beam angle lens system and (4) precision focusing. The unit weighs 57 lbs, uses a 575 watt (9000 lumen) discharge lamp and requires 16 DMX control channels plus a 110v power supply. (Cost of a StudioColor 575: $ 4, 940 at StageTechnology)

5. How are moving lights typically used in a theatrical production?

In the theatre, moving lights are typically used as refocusable and regellable specials. One automated fixture replacing perhaps as many as ten conventional lights. Designer Steven Haworth estimated that renting 8- StudioColor 575s saved him approximately 80 ellipsoidals, 60 circuits and 60 dimmers on his production of the Zion Passion Play. He used 4 Vari*Lite VL5s (a wash fixture) on a 1996 high school production of The Music Man saving him between 20 and 30 ellipsoidals plus related circuits and dimmers. Link to Haworth Associates web page on the Zion Passion Play

6. What are some of the problems associated with automated fixtures?

They are expensive, heavy, require a huge amount of time to program and need a console capable of handling a large number of control channels. For example, adding 6- StudioColor® 575s to our inventory would cost close to $ 30,000, require an additional 98 control channels (not possible with our present console: Strand Mantrix Mx48) and another 342 pounds of counter-weight.

7. Are there less expensive alternatives to a Vari*Lite or StudioColor?

Yes.

AutoYoke® w/ ColorScroller

City Theatrical has developed the AutoYoke which will convert a conventional ETC Source4- 19º to 50º ellipsoidal into a moving light. It requires only 7 DMX channels and costs (with the Source4 fixture) $ 2,544. City Theatrical accessories include the AutoIris ($ 441) and AutoFocus ($ 607). A Wybron 16 color Forerunner scroller would add an additional $ 590 . Total cost (with AutoIris, AutoFocus and ColorScroller): $ 4,182. An AutoYoke with a Source4 PARNel (including Wybron Forerunner scroller) would cost approximately $ 3,735 and also require 7 DMX channels. Total number of DMX channels needed per light: 9 -- 7 for the AutoYoke, 1 for the Forerunner color scroller and 1 for the dimmer controlling the lamp.

I-Cue

Rosco has developed the I-Cue Intelligent Mirror which allows the designer to focus (or refocus) the beam of light from a Source4 ellipsoidal from the control console. Only 4 DMX channels are required to position the mirror. (Cost of the I-Cue: $ 631 (plus power supply - $ 135 for two fixtures) from Stage Technology) As with the AutoYoke, a Wybron 16 color Forerunner scroller would add an additional $ 590 (plus Wybron power supply -- $ 850 for 16 units) Total number of DMX channels needed per light: 6 -- 4 for the I-Cue, 1 for the Forerunner color scroller and 1 for the dimmer controlling the lamp.