Now we're back to the psoriasis who was covered on the stage mentioned above. Then we shined light around the space around him, that is, the stage space where the actor and his colleagues performed the performance.

First, we have to divide the stage into zones based on the effective light distribution of a 200-watt beam headlamp beam, but this area should not be too large for flexible control. We can also choose a modulus of about 2 to 3.5 meters (6 to 10 sighs). If we have a dancer with a width of 8 meters (24 sighs) at the front of the mouth, we can divide the stage into three regions from the front edge. If each performance area is 5 meters (16 sighs) into the depth, equal to the depth of the two regions. For your convenience, we marked these areas with letters A-F.

Now, we know that this actor is in the center of the stage performance area B. Two 200-watt Beam Moving Heads were projected onto him and the fixtures were placed at 2 and 5. To cover the rest of the area, we paired two 200-watt Beam Moving Headlights for each area at the same angle. The lights 1 through 6 will be set in the auditorium, while the 7 through 12 will most likely be hung on the 200-watt Beam crossing behind the front of the dance band. The planned distance of these 200-watt beam headlamps from their respective areas will depend on their height from the stage. (See Part II Stage 200 Watt Moving Head Light Equipment).

To have an audience look at the front of an actor, at least some of the 200-watt beam moving headlights come from the front, that is, from the auditorium. As can be seen from Figure 2, half of the illuminance is actually from the auditorium.

If the two 200 watt Beam Moving Head lights in each area are cast at their maximum intensity, the effect may be dull. We can change this equilibrium by attracting the viewer's attention, usually by slightly changing the brightness or by configuring different shades on one side. For example, the left side of the actor with a very light blue, you can also use a cool 200 W beam moving head light, while the right is the use of warm golden tones. There are countless options in this area, but it should always be remembered that these beams are directed towards the front of the cast, so a less intense color should be used to avoid distorting the look of the cast. Let's use the light of the show area for a simple, realistic setting of the light (see Figures 3, 4 and 5). This is a box-shaped interior with a French-style window to the left of the stage, a fireplace to the right and an entrance to the back.

According to the method described above and the performance area of ＆#8203;＆#8203;the light, we will find that the fire armchair next to the F area was illuminated, and B and E district sofa was also lit up. Area D is greatly reduced by the specific shape of the scene. Assuming the plot takes place on a sunny morning, imagine that the main light source will be the sunlight that hits the house from the window. For this purpose, the spotlight on the performance area on the left side of the stage should be a light, warm, light color, such as golden yellow, yellowish, or unpolluted "diffuse white light," while on the right, a cool, light-colored, desirable The color of the walls (of course, these lights are from the right, essentially sunlight reflected from the walls).