Theatre Design & Technology - Spring 2005 - 22
the system would shut down the motors, apply the brakes and alert the operators of a misalignment problem. One of the
challenges presented was to "tune" the inverters so that the output curves matched. Because the control signal from the
Micrologix was digital, the inverters needed to be adjusted so the output speed curves were identical. This was accomplished primarily through a process of experimentation-comparing speeds of the motors at various frequency settings
on the inverters. To overcome motor mismatch, the stage left inverter was run at a frequency approximately 2.36% higher
than stage right, resulting in an exact match in output speeds from the motors.
While the bridge design allowed it to be raised by the motors alone we chose to add cables connecting the bridge to
the counterweight rigging system. The cables were attached at the offstage ends just out of sightlines and connected the
bridge to two of the theatre line sets. The locks on these two line sets were locked and tagged in an open position and
counterweight was added to the arbors. This reduced the load on the motors and gave an additional safety factor in the very
unlikely event of a chain or shaft failure.
Because the bridge also had performers passing underneath it was crucial to provide the operator with a clear view
of this space. Two small black and white video cameras were installed under the escape stairs at each end of the bridge.
Using a video switcher, the operator was able to see a view from each end of the bridge on a single video monitor. An additional video line was run from the front-of-house camera giving the operator a view of the entire playing area on, and
downstage of, the bridge as well.
The software written for the Micrologix and PanelView allowed the operator to move to any of the three preset positions by pushing buttons assigned to those positions. The operator also had the ability to "jog" the motion of the bridge
manually if necessary. The PanelView program allowed adjustment of the limits of the preset positions on the fly-adjustments could be made quickly and easily by the operator during rehearsals without the need for a connected computer.
The materials and parts for the bridge were rather expensive, with the steel costing more than $600.00.
Sprockets, pillow blocks, chain and four machined drive shafts added another $450.00. A new brake motor from
SEW Eurodrive was also purchased to match one in stock. Price: $680.00. The rest of the materials and control
equipment came from stock. The bridge took approximately two weeks to build and test in our shop. It was an exciting challenge that, in the end, worked extremely well. ▼
Figure 3
Figure 4
TD & T
S P R I N G
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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2005
Contents
Theatre Design & Technology - Spring 2005 - 1
Theatre Design & Technology - Spring 2005 - 2
Theatre Design & Technology - Spring 2005 - 3
Theatre Design & Technology - Spring 2005 - Contents
Theatre Design & Technology - Spring 2005 - 5
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