Tom
Beta Return
Are there really that many people having their picture taken at night with Donald to justify erecting this light post?
Good point.
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New light post in Frontierland
- Thread starter Sir_Cliff
- Start date
Good point.
OnWithTheShow
Member
For the lighting systems questions here is an except of an article on DCAs parade lighting system, control, and dimmers. I know I have the article on MK somewhere. Will post when I find it:
he lighting was designed for the evening, or after-dark, version of the parade, which also has a daytime version. The design process included "sitting out there every night writing light cues with technicians Jim McFail and Dave Froberg," says Jenkins, who with her partner Ilya Mindlin designed both the parade corridor lighting and individual float lighting. "Each float has its own sequence of cues and the show stops have an entirely different set," she explains.
"Months ago, when we listened to the music for the parade with Jim Holman, a Disney software specialist, we knew it would have a lot of cues. Jim set out to design software that could handle the large number of cues and make them easily programmable. Ilya and I would sit out on the route at night with the technicians and write cue sequences," says Jenkins. "The next day, Jim would look at what we'd done and tell us what was possible and what would need to be modified. We repeated the process every night for a couple of weeks while Jim modified and enhanced the software. Once the final cues were written, Jim and the technicians worked to ensure that the system could handle them."
The system Jenkins refers to is called DECS (Disney Entertainment Control System), which runs the parade from the aforementioned control room known as Audio Central. From there, DECS sends DMX signals to seven racks of ETC dimmers located in seven RICs (remote interface cabinets) along the parade route. In fact there are seven dedicated universes of DMX controlled directly by DECS, and an additional 16 shared universes of DMX that can be controlled via an interface with ETC's parkwide lighting control system. The system also includes 24 Fleenor 125EE opto-splitters and four Fiber Options RS-485 multimode transceivers.
The cues trigger lighting instruments in 67 positions along the parade route: 60 standing poles in five different styles and painted in eight different colors to match the theming in various areas of the park, and seven poles that lie flat on rooftops and are automatically raised into position at parade time. Each position has a DMX feed and a dimmable circuit near the instruments. Each pole also has a 20A convenience power circuit at working level.
Divided among the 67 locations are 536 Thomas Outdoor PAR cans and 268 Wybron Color Splash scrollers, all painted to coordinate with the colors of the poles. Each pole has eight PAR cans: four used for general route lighting with Roscolux gels 317, 34, 58, and 82; and four with scrollers dedicated to adding color to the individual floats as they move along the route.
Each of the outdoor, waterproof scrollers has its own DMX power supply onboard, and is equipped with a 16-color scroll (Roscolux 21, 23, 317, 34, 343, 339, 49, 358, 58, 82, 83, 80, 94, and 388). "Each float is assigned its own base look [colors] from which the cues for that float are created," says Jenkins. For example, Golden State's colors are R21/R23 — orange and yellow; Fiesta's are R15/R343 — pink and yellow; City of Angels' are R358/R388 — purple and green, and so on (Pacifica's are R21/R339, Phoenix's are R339/R358, and the finale's are R23/R15).
The scrollers have special 3-R rated connectors, the Neutrik HD, supplied by Wybron and TMB. There are also 1,533' of cable in different lengths used for the scrollers. Not only do the colors change along the parade route, but the movement in the light varies as well, from flashing on and off to live scrolling between colors. Even without using automated fixtures, Jenkins notes, "The scrollers gave us so much more flexibility."
Jerikins worked on the concept for the lighting with parade director Steven B. Davison and designer Michael Curry. "Steve wanted it to be bright, vibrant, and dynamic with a lot of movement in the light," she says. "Michael had a different idea for what he wanted to see on each float." This gave Jenkins the challenge of making each float stand out along the parade route, while keeping the lighting in tune with Curry's designs.
The solution was to design each float as a separate stage and give each one its own distinct look. "You have to close your eyes and imagine what it would look like at night," says Jenkins. "People only see what you show them." The end result makes it look as if each float is a separate event, as they really are quite different. The Golden State float has eight MR-16 PARs supplied by TMB integrated to serve as uplight for the revolving State of California and the Eureka head. The most complex and dynamic float, lighting-wise, is City of Angels, which has 20 MR-16 PARs from TMB, and six ETC Irideon AR5s. The float has its own onboard dimming and control for the AR5s. "As far as lighting is concerned," concludes Jenkins, "this is more complicated parade than Disney has had in the past. It was a real challenge to the system."
he lighting was designed for the evening, or after-dark, version of the parade, which also has a daytime version. The design process included "sitting out there every night writing light cues with technicians Jim McFail and Dave Froberg," says Jenkins, who with her partner Ilya Mindlin designed both the parade corridor lighting and individual float lighting. "Each float has its own sequence of cues and the show stops have an entirely different set," she explains.
"Months ago, when we listened to the music for the parade with Jim Holman, a Disney software specialist, we knew it would have a lot of cues. Jim set out to design software that could handle the large number of cues and make them easily programmable. Ilya and I would sit out on the route at night with the technicians and write cue sequences," says Jenkins. "The next day, Jim would look at what we'd done and tell us what was possible and what would need to be modified. We repeated the process every night for a couple of weeks while Jim modified and enhanced the software. Once the final cues were written, Jim and the technicians worked to ensure that the system could handle them."
The system Jenkins refers to is called DECS (Disney Entertainment Control System), which runs the parade from the aforementioned control room known as Audio Central. From there, DECS sends DMX signals to seven racks of ETC dimmers located in seven RICs (remote interface cabinets) along the parade route. In fact there are seven dedicated universes of DMX controlled directly by DECS, and an additional 16 shared universes of DMX that can be controlled via an interface with ETC's parkwide lighting control system. The system also includes 24 Fleenor 125EE opto-splitters and four Fiber Options RS-485 multimode transceivers.
The cues trigger lighting instruments in 67 positions along the parade route: 60 standing poles in five different styles and painted in eight different colors to match the theming in various areas of the park, and seven poles that lie flat on rooftops and are automatically raised into position at parade time. Each position has a DMX feed and a dimmable circuit near the instruments. Each pole also has a 20A convenience power circuit at working level.
Divided among the 67 locations are 536 Thomas Outdoor PAR cans and 268 Wybron Color Splash scrollers, all painted to coordinate with the colors of the poles. Each pole has eight PAR cans: four used for general route lighting with Roscolux gels 317, 34, 58, and 82; and four with scrollers dedicated to adding color to the individual floats as they move along the route.
Each of the outdoor, waterproof scrollers has its own DMX power supply onboard, and is equipped with a 16-color scroll (Roscolux 21, 23, 317, 34, 343, 339, 49, 358, 58, 82, 83, 80, 94, and 388). "Each float is assigned its own base look [colors] from which the cues for that float are created," says Jenkins. For example, Golden State's colors are R21/R23 — orange and yellow; Fiesta's are R15/R343 — pink and yellow; City of Angels' are R358/R388 — purple and green, and so on (Pacifica's are R21/R339, Phoenix's are R339/R358, and the finale's are R23/R15).
The scrollers have special 3-R rated connectors, the Neutrik HD, supplied by Wybron and TMB. There are also 1,533' of cable in different lengths used for the scrollers. Not only do the colors change along the parade route, but the movement in the light varies as well, from flashing on and off to live scrolling between colors. Even without using automated fixtures, Jenkins notes, "The scrollers gave us so much more flexibility."
Jerikins worked on the concept for the lighting with parade director Steven B. Davison and designer Michael Curry. "Steve wanted it to be bright, vibrant, and dynamic with a lot of movement in the light," she says. "Michael had a different idea for what he wanted to see on each float." This gave Jenkins the challenge of making each float stand out along the parade route, while keeping the lighting in tune with Curry's designs.
The solution was to design each float as a separate stage and give each one its own distinct look. "You have to close your eyes and imagine what it would look like at night," says Jenkins. "People only see what you show them." The end result makes it look as if each float is a separate event, as they really are quite different. The Golden State float has eight MR-16 PARs supplied by TMB integrated to serve as uplight for the revolving State of California and the Eureka head. The most complex and dynamic float, lighting-wise, is City of Angels, which has 20 MR-16 PARs from TMB, and six ETC Irideon AR5s. The float has its own onboard dimming and control for the AR5s. "As far as lighting is concerned," concludes Jenkins, "this is more complicated parade than Disney has had in the past. It was a real challenge to the system."
unkadug
Follower of "Saget"The Cult
I remember hearing at one time that it was HighEndSystems/Whole Hog...of course that may have changed. :shrug:
MaryJaneP
Well-Known Member
Isn't that like looking directly at the sun at midday? (please don't do it)
raven
Well-Known Member
Those would be lenses that you see, not the actual LED's.
unkadug
Follower of "Saget"The Cult
I thought that that may be the case....I still would like to know the manufacturer though.
That seems a pretty poor attitude toward theming by Disney standards! They certainly make out as though they take it a lot more seriously than that in all their literature and promo material.
Exactly.
disnyfan89
Well-Known Member
We could instead talk about the hideously ugly new cabinet that just showed up at the entrance to The magic carpets of Aladdin instead if you like :lol:
Alison1975
Well-Known Member
lol
jhastings74
Well-Known Member
I am strangely fascinated by this thread...
(And Alison...WELCOME!:wave: I used to live in Stockbridge and Lee)
(And Alison...WELCOME!:wave: I used to live in Stockbridge and Lee)