 |
A shot of the State Theatre in Easton PA.
I'm impressed with the care they take of the theatre.
I took this when I attended a most excellent concert presented by Justin Hayward, one of the driving forces of The Moody Blues and the composer of many of my favorite songs. |
So... as I've mentioned before, I intend on building a Sound Stage in the Studio. The layout calls for a stage that can flex up to 30 feet wide and 20 feet deep. I expect to keep it around 20 feet on the proscenium and 16 feet deep. Wider than that takes away from the wing and upstage areas.
The stage is not intended for public exhibition, although test audiences may come into play, if I put in a peanut gallery. I have about 80 Deco Theatre seats left from a larger batch that sustained water damage. If I finish the dozens of other projects in line, we may end up restoring those seats and using them for audience seating in the studio. The big issues there are Fire Regulations, in particular a Sprinkler System, improved HVAC, and other things as well, if I open the doors to the public. If we get to the point where we pass the Zoning regulations we might be able to produce other programs, such as a talk show or rent the stage/scene shop out. But that's not really my intention.
A Sound Stage is pretty much just intended for Developmental Theatre, Studio Film work, for animation, puppetry, stop action, motion control & model work, but also other Green Screen work.
I just acquired some more lighting dimmers, old analog stuff and some more 6x9 Lekos, really an expansion of equipment I have had for years. But that has stirred me up to look into LED lighting. Many years ago, I was going to set up a sound stage (actually in the same space, when I used to rent this portion of the building).
I'll come back to this post later
AG
UPDATE 1/5/24;
Well I am actively exploring the equipment required for lighting the stage while avoiding interference from lighting instruments, in terms of the video camera. I think this will be essential. I do have two analogue systems for conventional lighting, which I suppose would be used for rehearsals that are not video-taped or recorded. It's rather a question of lamp hours, as to whether or not to maintain multiple systems. I imagine I will have analogue for simple non-performance work, DMX for that level of operation (since many houses maintain that capability, and then PWM for the instrument that service A/V. I think that is going to be required, if the facility is to be comprehensive. I've been discussing this on a lighting forum and from the overall advice I've been getting, this seems to be the approach. I need to do more research on the current technologies, the applications and the cost. I'll post more updates here as I learn more about what we need to do. AG ðŸŽ
