Theatre Design & Technology - Winter 1998 - 24

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COURTESY
DISNEYLAND

SYMBOL KEY

AND BRIAN GALE

PAR 64 IKW W/OICHROIC FILTER

PAR 64 IKW WICOLOR CHANGER

72 UNITS

UFT POLE TYP.

72 UNITS

«HI

Main Street light plot. The
eighteen light poles on the left
are "lift-ups" located on
buildings; the five on the right
are at street-level.

S6 UNITS

I
flEVAnON

SECTION

LARGE UGHTPOLE

illVAnON

WI:'>

TD& T

SECTION

SMALL UGHTPOLE

total of fourteen show sites. (The Small World shows use only
three floats, the Main Street shows use four, times two sides
per float, equaling fourteen.) It's really one plot, duplicated
fourteen times. It's a lot smaller as a plot than it seems to be."
(See Small World and Main Street plots.)
"We start with twelve IIideon AR5s on each float. TIley are so
small, so cute," Gale said. lindsey intemlpted: "Brian c<,ills me just
before 1finish tlle specs, and tells me, 'I gO!t<1 have iliese, 1just go!t<'L '"
"TIley're tlle smallest moving light m'ound," said Gale. "TIley
m'e really made for retail, but tlley were pelfect for us, and tlley're
sturdy-tlley've gotten kicked plenty of times, and they m'e still
going." TIle AR5s sit in wells in tlle deck of the float, sLx per side.
II addition to the moving lights, each float mounts twentytwo PAR 16s (elel'en per side using tlle 12 I'olt, 75W EYC MR-16
lanlps) which m'e used in footlight positions gelled in R80 and
R48, with four units in R95. Anotller five (using 12 volt, 50W
F s) are used as scenic highlights, Witll R48. [Note: tlle plot
shown on p. 24 is an eilliy \-eP.>ion, md shows tl1iI1y-tlu-ee PAR 16s.)
Lindsey said, 'We 10l'e tllese little TMB 'Birdie' PAR 16s. We
were able to find a place to buy tllem cbeap, (about SI5.00)
which is tenific, because tlley get kicked, stepped on, and frequently come back totally cl1lshed and l1Iined. We do repairs and
replace units on all tlle floats evelY night when tlley come back.
We hal'e an overnight crew just for that."
22

Vl-6 AUTOMATED LUMINA/RE 400W HTI

But of course, tllere is oilier lighting, too. The action on each
float is identically staged, (altllOugh different Disney chm-acters
pelfOim on different floats) which continues ilie 'one show'
theme. Gale say'S, ''We use forty-eight Thomas Weather PARs per
float side. twenty-four of them are in lavender, and tlle other
twenty-four use the Wybron Aquaranl color scroller. On Main
Street it's a mix of narrows and mediums, at Small World, it's mediums and \\~des."
"Ill addition, tllere are six Vmi*Ule VL6s per float side, \~tll
different lenses, depending on tlle tllrow. 1really needed eight per
side for full coverage, but couldn't get them, so there is a lot of
cross focusing, and a lot of movement, to maximize the coverage."
The an*Lites are using standard VL colors, although not tlle normal palette. That totals out to eighty-four VL6s (plus about 10%
spm'es, tlle Disney avel-age), 336 Aquaranls, and 672 PARs. They
m'e conU'olled by 150 dinlrners at the Small World location, and
anotller 192 on Main Street where all four floats m'e used. Each
float uses seventy-two relay'S to conu'ol confetti cannons, and
much of tlle intemalfloat lighting. twenty-four onboard dinlrners
take care of ilie PAR 16s, (sL\.'teen dlilllHeIs) md my intemallights,
such as tlle \\~dows, which needed to be dinlrnable. The AR5s
use a mechanical dinlrner. All tlus is I1In from ilie onbom'd ETC
lInpression conu·oller. (See Magical TmnsfoITIlation illustration.)
llstrument choice wasn't as easy as Gale would've liked.

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998