Whatever the scale of production – amateur or professional – stage lighting like other design processes, is based on a series of logical decisions, and a good deal of creative inspiration. In this article, I am going to talk about various types of stage lighting. I hope it will be useful for amateur groups, small companies, and educational theater.

The theatrical lighting sector is particularly “conservative”: how do we orient ourselves between traditional theatrical lights and modern LED headlights? Let’s start by talking about the large families of stage lighting to choose the most suitable for our purposes in terms of beam size, the shape of the beam, and the quality of the light beam.

The wide-opening “Flood” headlights

The beam size, shape, and quality emitted by a floodlight are fixed: there are no adjustment knobs. Therefore, the light is suitable for lighting, such as stage backdrops. This type of projector is not sufficient for selective illumination of individual actors or details. Flood headlights with a wide opening angle are therefore suitable for illuminating the whole scene even if positioned close to the action. Besides, they can be white or even RGB.

Spot or Theatrical Headlights

They are equipped with a lens called PC (flat-convex) or Frenel to allow control of the beam size. Their emission range can be cut thanks to flags or flaps applicable to the front of the projector. Soft and degrading edges characterize the quality of their light beam. In the case of the Fresnel lens, the light will be more concentrated in the center with even more degrading edges. The angle of the beam is adjustable due to the knob, which moves the disc system at any distance. The relatively large light emission does not make them suitable for a placement very far from the stage, for example, in the stalls.

The PAR CAN headlights

The Par headlights owe their name to the dish that is contained not in the lighthouse but directly inside the large lamp that looks like a car headlight. Most PARs produce a conical beam of light so that the diffusion widens as the distance increases but without a big counter. The use of a parabolic (and lensless) reflector will, therefore, produce a parallel and close beam that is more intense than that of a reflector with a lens of the same power. The Par Can are the projectors that were most used in large quantities in Rock concerts, where intense lighting with a narrow, almost violent beam was important. Actually, they are not very suitable for theatrical lighting.

Moving head gobo light

Moving head gobo light is highly brighter with its particular optical unit with a genuinely fantastic lumen and watt ratio. The front lens can be rotated in a wide-angle to create lots of small bright spots, which can create a better effect than other highlights. One such an example is the A.leda B-EYE K10 from ERA Lighting, which is a high-performance rotating moving head, a breathtaking beam light, and a creator of completely new spectacular visual effects. Its unparalleled versatility makes it a fascinating creative tool for all lighting designers. The B-EYE is an excellent quality wash light, which can wash surfaces with colors at any distance, making full use of its light source. The zoom ranges from 4° to 60°; therefore, it is suitable both for environments with low ceilings such as small theatres and TV studios. Besides, all the parameters of each LED can be controlled entirely. Moreover, by adding colors and dynamic graphics, the B-EYE generates never-seen-before graphic light effects.

Conclusion

You might now have more knowledge of stage lighting and become clearer in choosing which type to be suitable for your purpose. A led moving light can be a perfect one to create the fascinating theatric effect to construct any atmosphere for any occasion. As for a try, ERA Lighting would be the best choice.

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