Interpretation of Several Issues in "Guidelines for Process Design of Stage Lighting Systems"

1. Why is there no indication for the stage illumination in this standard?

In functional lighting projects, illuminance indicators are one of the most important indicators. But the stage lighting is artistic lighting, "bright" is the art need, "dark" is also the art need, and sometimes even "there is no light to win the light", the stage lighting pays more attention to people's feelings.

The more important reason is that the lighting required for the control must be meaningful under the conditions of the lamp specifications, the number of lamps and the installation. The specifications, model, quantity, installation position and projection direction of the stage lighting are uncertain. Therefore, it is not very practical to propose the illumination requirement, and it is difficult to specify the test conditions.

When the theater is broadcast on TV, the comparison does have requirements, but in general, the lights in the theater are enough to install the lamps needed for TV broadcast, and the power supply capacity is enough to meet the electrical power required by these lamps. At present, the sensitivity of the camera is very high. Under the common aperture, even for high-definition video, the illumination is generally sufficient at about 1000 lx, and more importantly, the light ratio. The illumination of 1 000 lx is not a problem for the lighting of the theater.

2. Why is there no clear requirement for the number of dimming circuit configurations in this standard?

In the "Architectural Design Code", the number of dimming circuits for theaters with different functions and different scales is clearly defined. This standard is used to directly guide the design of lighting systems. Why is there no clear quantitative guidance?

As we all know, the current stage lighting is facing profound changes. The change of light source directly affects the power supply mode of the lamps. All new light source lamps such as computer lights, LED lamps, digital projection lamps and LEP light sources (microwave coupled plasma light sources) do not need traditional Dimmer. With the implementation of the green lighting concept, the elimination of incandescent lamps, and the elimination of dimmers should be the general direction, but the length of time.

It is currently in a transitional period, that is, new light source lamps are gradually accepted by stage performances. The share of traditional incandescent lamps on the stage is gradually decreasing. Therefore, it is difficult to regulate the number of dimming circuits now. It’s not a good time.

The provisions of this standard are mainly from the power supply to meet the lamp position, and encourage the use of dimming, direct-pass dual-use equipment or dimming, straight-through module interchange to solve the problem of lighting power supply during the transition period.

3. Why are there no guiding requirements for the lamp configuration and lamp position map in this standard?

You may have been accustomed to having a light bitmap and a list of fixture configurations on the design and construction drawings of a lighting project. Why is this standard neglecting the lamp configuration and lamp position map?

Stage lighting is an art lighting. The configuration of the lighting in the performance depends entirely on the understanding of the script by the lighting design, the understanding of the director's stage scheduling and the style and style of the costume design and the props, plus the burst of personal feelings. Understanding and familiarity with lighting equipment, including luminaires. In other words, in the actual performance, the configuration of the stage lighting has great subjectivity. In the same repertoire, different lighting designs may have very different artistic designs, and their lamp maps will be very different. Therefore, the current position map of the theater lighting process design is basically only a schematic diagram, or it is for the layman to look at it, the actual meaning is not big.

Of course, the configuration of the luminaire is still an important part of the process design of the stage lighting system. As a lighting process design, some common and necessary lamps should be selected as the basic configuration according to the function positioning and investment situation of the theater. In the case of investment permission, some frequency of use can be configured, although not very high, but can meet special needs. High-end lamps. In addition, the author personally believes that even with the light map, the list of lamps and lamps on the lamp map does not necessarily have to correspond one-to-one, because this is not entirely reasonable. The type and number of lamps on the list of lamps should be more than the lamp map, as some fixtures should be reserved as a theater for different needs.

In addition, there are many lamps suitable for the same lamp position, such as flat convex spotlights, imaging lights, and computer lights. In the past, a large number of backlights were used. The same type of luminaire may be used in many lamp positions, such as an imaging lamp that can be used in almost all lamp positions. Therefore, it is difficult and restrictive to the lighting division to clarify which lamps are placed on each lamp position. To this end, Appendix A is added to this standard to introduce the basic technical parameters and main types of stage lighting. This appendix is ​​an informative appendix for designers to use for lamp reference.

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