Introduction
Stage design is the design with "stage" as the subject matter, more specifically, stage equipment, lighting, curtains, sound, performance props, suspension and replacement Bracket systems, costumes, and makeup are the subject matter designs. Similar to the display design, these objects are all "supporting roles", and the "performance activities" should be the protagonists. In addition, the stage design also has the characteristic of time dimension that matches the plot. In terms of the sophistication of stage design, it can be roughly divided into three types: open-air stage, mobile stage, and indoor stage. As for the development of stage design, different types have emerged in the West and my country. In the West, there were major technological breakthroughs in stage design during the Renaissance, including: framed stages, perspective scenery, false perspective, quick (turn) replacement side curtain systems, etc., which not only made drama and opera the core of " Stage design has become the main work content of Western stage design. Through the Renaissance movement, this kind of stage design quickly spread from Italy to the entire Western world. As far as the content dealt with by stage design is concerned, there are three main parts: auditorium, stage, and backstage. The auditorium includes seats, sound environment, perspective, entry and exit paths, and physical environment; the stage includes lighting, curtains, and sound , performance props, suspension and replacement bracket systems, costumes, makeup, etc.; the backstage includes dressing and makeup, civil and military arena (band), transition passage, basic prop display, and preparation space, etc. Therefore, the abilities required for stage design include: knowledge of performance activities (or drama performances), stage painting, prop production (art and craft), stage lighting, knowledge of the evolution of props and costume styles, knowledge of music and drama, and sound. knowledge of control, etc. Stage Design Stage Machinery
One of the most important indicators of stage machinery is safety and reliability. All types of stage machinery must be absolutely safe and reliable at all times.
Currently, there is little research on the reliability design of stage machinery. The reliability design theory is based on a large amount of experimental data. Different usage scenarios require different reliability. The reliability of the equipment is determined based on comprehensive considerations such as its importance, work requirements, and ease of maintenance. The utilization rate of stage machinery is not high and the load rate is low. It has certain requirements for life design and very high requirements for reliability design, because once problems occur, it may cause serious safety accidents or large economic losses. Stage machinery must have high reliability, and its failure probability should be between 0.1 and 1.0. Due to the lack of necessary experimental data and specific in-depth research, reliability design theory has not been specifically applied in stage machinery design. Research shows that although the safety factor alone cannot fully reflect the reliability level, there is still a lack of sufficient data to treat each parameter as a random variable in the design of stage machinery components. Therefore, using the design parameters as determined quantities, using the strength safety factor or stress as the basis for judgment, and selecting appropriate safety factors to approximately control the requirements for operational reliability is still the dominant method in current stage machinery design. Since there is a certain deviation between the calculation results and the actual situation, it is necessary to have a necessary safety margin for the calculation of the allowable load-bearing capacity of the components. This is the basic starting point for determining the safety factor. Usually, stage machinery should also propose design life indicators. The life index based on working years is not applicable to stage machinery, but the life in working hours is more realistic. The working life of 8,000 to 10,000 hours should be the basic data for stage machinery design.
The safety indicators of stage machinery mainly include three aspects: equipment safety, personal safety and electrical safety. Moreover, these three factors are interrelated and influence each other, and sometimes are inseparable. Types of Stages Promenade Stage
A proscenium stage is one in which the audience is on one side of the stage, while the remaining sides of the stage are obscured by objects for the actors and technical staff to prepare. The earliest permanent proscenium stage was built in 1618 by the Parmanis family in Italy.
Extended stage
The difference between an extended stage and a framed stage is that a part of the stage protrudes forward toward the audience, and three sides of this part are exposed to the audience. Ring stage
Ring stage means that the audience is located around the stage. Usually the ring-shaped stage is located in the center of the theater. The audience can enjoy the performance up close. Also called center stage. Equipment safety
Equipment safety refers to: the ability of stage machinery and equipment to be used for a long time under specified working conditions without causing accidents; the ability to continue working under reduced technical parameters in the event of a temporary failure; The ability of stage machinery and equipment to sense, display and alarm abnormal working conditions. This ability or performance is usually accomplished by the mechanical design itself and electrical control at the same time; consider the ability to eliminate temporary failures of the stage machinery as soon as possible during the performance, so that the failure of the stage machinery will not affect the normal performance as much as possible.
There are many factors involved in equipment safety, mainly including the following aspects: Safety factor
The selection and design of all mechanical parts must ensure that they operate under the combined action of rated load and inertia load. , can work reliably and have a certain safety reserve, that is, there is a sufficient safety factor. The safety factor is defined as: the ratio of the ultimate stress of all materials to the maximum working stress of the part. The maximum working stress of the parts should
consider the stress generated under the action of the maximum static load and dynamic load (emergency brake, collision and other inertial loads). For example: the safety factor of the steel wire rope for hanging heavy objects or traction should be greater than or equal to 10; the safety factor of the lifting chain should be greater than or equal to 12; the safety factor of the transmission chain should be greater than or equal to 10; all transmission system components should be selected It should be able to withstand twice the rated load; in rough calculation, the safety factor of transmission parts and force-bearing parts should be greater than or equal to 6. In precise calculation, the safety factor should comply with the provisions of relevant standards or specifications for such parts. Appropriate stiffness
The main stress-bearing components of stage machinery should have appropriate stiffness to meet the needs of stage performances. Usually, it is stipulated that the deflection of a stressed member should be less than 1/1000~1/800 of the span of the member. Sometimes, the absolute value of the deflection is also stipulated. These members must meet these two requirements at the same time. The torsional stiffness of the transmission parts and the stability of the pressure rod should comply with the relevant standards and specifications. For the lifting platform, in order to obtain sufficient lateral stiffness, the calculated horizontal load should not be less than 1/20 of the vertical motion load. Structural dimensions
In order to avoid or reduce excessive additional stress or premature fatigue failure of some mechanical parts due to unreasonable structural dimensions, sufficient attention should be paid to their structural dimensions during design. The components of the winch system are relatively typical. For example, the diameter of the winch driving drum should be greater than 18 times the diameter of the steel wire rope, the diameter of the pulley should be greater than 20 times the diameter of the steel wire rope, and the diameter of the drive wheel of the friction transmission (traction transmission) should be greater than the diameter of the steel wire rope. 40 times the diameter, etc. All accessories for the wire rope must match the diameter of the wire rope. Wire rope joints can only use those joint forms that transmit loads greater than 80 wire rope breaking loads, such as: braided joints, alloy cast casing joints, wedge types Joints, aluminum alloy extruded casing joints and steel rope clamps that comply with regulations and are used correctly. The height of the drum rib should be greater than 2 times the diameter of the wire rope. For single-layer winding drums, at least two friction fixing rings should be left. Stage design Design points
Key points of professional stage lighting design Stage composition
Architecture, sculpture, and painting are arts that keep time and space relatively eternal in a plane or a three-dimensional manner. As a comprehensive art of time and space, performing arts require a space to maintain the relationship between viewing and performance - a theater or performance venue. Stage artists' performances that transcend time and space simultaneously constitute a visual and auditory creative space with multi-dimensional factors such as sound, light, color, shape, etc., and continue to develop with time and the conversion of plots and scenes.
Whether it is a twist in the plot of a drama or a performance of opera, song and dance, at the same time, the performance lighting changes the light and dark effects in the audience's vision or unconsciously, changes the physical space, or causes various effects due to the functions of the lighting equipment itself. a visual performance effect. Participate in the performance by shaping the image, rendering the color, changing the rhythm, etc. and forming a special stage performance space atmosphere with a visual vocabulary, thereby affecting the emotional changes of the audience, forming a specific space in which the scene, actors, and audience interact with each other and consistent with the content of the stage performance. . Lifting stage
Design and application of hydraulic turntable lifting stage
As cultural life becomes increasingly rich, people have higher and higher requirements for stage effects in performance activities. In relatively high-end cultural and entertainment venues, in order to create a lively three-dimensional performance effect, the traditional static stage is gradually abandoned and replaced by a rotating and lifting stage. The author undertook the design work of the indoor rotary lifting stage of a five-star hotel. When formulating the design plan, I took into account the effective use of the limited space on site and minimized the area occupied by the transmission device to reliably ensure the smooth lifting and lifting of the stage. Turning adopts hydraulic transmission method. (1) Working principle of the rotary lift stage. The stage has a diameter of 6m, uses steel structure welding parts as the base frame, and is decorated with fireproof materials. The stage body has a self-weight of about 3,500kg, a designed maximum payload of 2,500kg, and a maximum lifting height of 1m. It is required to be able to independently control the lifting and turning movements of the stage.
The stage consists of table 4, rotating shaft 3, ring gear 2, roller assembly 1, hydraulic motor 5, key 6, base plate 7, base 8 and driving hydraulic cylinders evenly distributed under the base. When the pistons of the four telescopic hydraulic cylinders rise simultaneously, they push the base and stage to rise vertically along the guide rails. The turning motion of the stage is realized by an independently controllable hydraulic motor driving the ring gear 2. In order to effectively reduce the frictional resistance torque, a roller assembly is arranged between the base and the tabletop to ensure that the hydraulic motor can drive the stage rotation relatively lightly.
(2) Hydraulic system design
1 Hydraulic system composition and working principle
The hydraulic system composition is shown in Figure 2. The working process is as follows:
Stage lifting: After the oil pump motor is started, the double oil pump 1 starts to work, but both the large flow pump and the small flow pump are in an unloading state. When the stage rises, the electromagnet YA6 is energized, and the lifting circuit increases the pressure. The hydraulic oil output by the large-flow pump passes through the reversing valves 4~8 and then enters the rodless chambers of the four hydraulic cylinders through the four hydraulic control one-way valves 12~15. , generate thrust, overcome the weight of the stage and the friction of the guide rail pair to push the stage up. Due to the large size of the hydraulic cylinder, the stage rises slowly (the design rising speed is 0.02m/s). In order to reduce the number of hydraulic components and ensure the reliability of the system, the speed control components are not set and the size of the oil pump and hydraulic cylinder is adopted. A design that directly guarantees this; when the stage stops rising or reaches its maximum stroke, electromagnet YA6 loses power, reversing valve 25 is in the left position, and the main circuit is depressurized. Since the hydraulic control check valves 12~15 are locked, the stage stops at the locked position; when the stage drops, the electromagnets YA5 and YA6 are energized, the system control circuit increases the pressure, and high-pressure oil enters the pilot of the hydraulic control check valves 12~15 Control the valve, open the hydraulic control check valve, and at the same time YA1~YA4 are powered, reversing valves 4~7 are connected to the oil tank, and the stage relies on its own weight to descend. The descending speed can be adjusted by the speed regulating valve 12~15. Synchronous control: The four synchronous branches of this system use the same component type and the input flow rate of each branch is the same, which can better ensure the synchronous rise and fall of the four telescopic cylinders.
Balance control: In order to make the four hydraulic cylinders produce the same thrust, four one-way valves 16~19 are used in the system to isolate the four branches, and then a relief valve 20 is used for pressure control. Ensure that the set pressure of each branch is the same. Stage turning
Taking into account the limited space at the construction site, in order to save space and improve efficiency, a double-type oil pump is used in this design. The large-flow pump is used to drive the stage to lift, and the small-flow pump is used to drive the hydraulic motor to drive the stage to rotate. The two movements can be controlled independently without interfering with each other.
When the oil pump is started, the pressure is relieved through the reversing valve 27; when it is necessary to control the forward rotation of the stage, the electromagnets YA9 and YA7 are energized, and the reversing valve 24 is in the left position. High-pressure oil enters the hydraulic motor through valve 24 to drive its rotation, and the stage is transmitted through the motor output shaft gear and ring gear to drive torque. If YA9 and YA7 are powered on, the motor drives the stage to reverse direction. One-way valves 22, 23 and relief valve 26 form a hydraulic motor overload protection circuit. 2.2 Electrical control circuit design Stage design
Analyze the stage working process to realize the operation control of the hydraulic system and the action cycle of each electrical component. Design the electrical control circuit diagram based on the electrical component action cycle table. Press the up button SB3, the intermediate relay K1 is energized and self-locking, the electromagnet YA6 is energized, the reversing valve 25 is set to the left position, and the stage rises. When the stage rises to the end of the stroke and the stroke switch ST is pressed, the intermediate relay K1 loses power, the 25th side of the reversing valve is in the normal position, and the hydraulic system increases the pressure. At this time, the hydraulic control check valves 12~15 are cut off, and the hydraulic oil in the rodless chambers of the hydraulic cylinders G1~G4 cannot be discharged back to the tank, and is in a pressure-maintaining state, keeping the stage stationary there. Press down button SB4, intermediate relay K2 is energized and self-locking, K1 is energized at the same time, electromagnets YA5, YA6, YA1~YA4 are all energized, high-pressure oil enters the hydraulic control check valve 12~15 through reversing valve 3 The pilot valve and hydraulic control check valve open, and the hydraulic cylinder slowly descends under the control of speed regulating valves 8~11. The stage lift and rotation can be flexibly controlled and can be stopped at any time during operation. When button SB7 is pressed, the hydraulic cylinder control circuit loses power and the stage stays there; when button SB8 is pressed, the hydraulic motor control circuit loses power and the stage stops rotating. The moving contact KM1 is set in the control circuit to ensure that each hydraulic valve is controlled after the oil pump is started, achieving the interlocking purpose of motor starting and hydraulic control.
(3) Hydraulic system maintenance and troubleshooting
The stage mechanical transmission device is relatively simple. As long as the gear pair and guide rail pair are regularly lubricated to prevent foreign matter from entering, it can ensure a high reliability. The hydraulic system is relatively complex and there are many factors that affect its normal operation. Therefore, active maintenance and preventive maintenance of the hydraulic system can keep the hydraulic turntable lifting stage in good technical condition. The working environment of the hydraulic control components and electrical components of the turntable lifting stage is relatively harsh. The focus of active maintenance and preventive maintenance is the reliability of these components. The working status of the reversing valve electromagnet and whether the valve core slides flexibly should be regularly checked, and the blocking phenomenon should be eliminated in time. Regularly clean up iron filings and other debris in the surrounding environment to prevent the control valve core from being stuck. It is necessary to check whether there are any hidden dangers such as short circuits in electrical components, clean dust and remove oil stains to ensure the normal operation of electrical components. The oil filter element should be inspected, cleaned or replaced after 250 hours of operation. The hydraulic oil tank should be cleaned of moisture and impurities from the bottom drain port every three months, and all hydraulic oil should be replaced every one year (or after 2000 hours of operation).
After nearly two years of operation, the hydraulic turntable lifting stage has stable performance. During this period, a minor malfunction occurred. The malfunction manifested itself as an obvious abnormal sound after the pump was started, and the stage was inflexible in its lifting and lowering. After operating the up button, sometimes the stage becomes unresponsive, and sometimes it can rise after a long period of time, but at an extremely slow speed. The same fault occurred when descending, accompanied by stage jitter. According to our analysis, the cause of the abnormal sound may be caused by the vacuum of the oil pump or damage to the internal components of the plunger pump. However, the plunger pump does not work for a long time, and the problem is most likely to occur due to insufficient oil suction by the oil pump. Insufficient oil suction by the oil pump may be caused by a clogged filter in the oil suction pipe or insufficient oil supply due to air leakage in the oil suction pipe. Considering that the installation space of the hydraulic system is small and it is difficult to disassemble the oil tank for inspection, we disassembled the oil inlet hose of the hydraulic valve 27. After starting the motor, we found that the oil sprayed out intermittently, and then stopped draining the oil. The oil level indication in the fuel tank is normal. After disassembling the fuel tank, carefully observe the oil suction pipe and there is no abnormality. The filter was replaced decisively, and the oil discharge was normal during the trial run. When the stage raising button was operated, the stage could rise normally, but the stage still could not complete the action normally when it was lowered. Based on experience, it is judged that the cause of this failure is most likely to occur in the reversing valves 4~7 and the speed regulating valves 8~11.
When the stage descends, push the push rods of reversing valves 4 to 7 accordingly. It is found that when the push rod of reversing valve 6 is pushed, the stage can descend normally. Check the solenoid coil of reversing valve 6 and find that the terminal is loose, causing poor contact. Tighten the wiring screws and troubleshoot. The hydraulic turntable lifting stage is an important facility that activates people's cultural and entertainment life and improves and enriches performance effects. When establishing the overall plan and designing the hydraulic system and electrical control system, the author conducted careful demonstration and scientific design. The design has a simple overall structure and high stability of the hydraulic system, which can ensure the smoothness, safety and reliability requirements of stage operation. At the same time, the diagnosis and repair process of a typical fault of the hydraulic system is introduced, and measures for effective care and maintenance of the hydraulic system are proposed, providing guidance for users in their daily use of the rotary lift stage. Stage design
To judge the quality of the sound system, you should first observe the acoustic environment and place it in a position conducive to performance. Put the sound box at a certain distance so that the listener and the two The speaker is in the shape of an equilateral triangle. Place the left and right channel balance buttons in the middle position and turn off the frequency equalization device found in general equipment. Turn on the volume knob from low to high until it reaches the maximum, and listen to the noise under static conditions. Then, put on a CD record that you are familiar with on various devices, slowly turn up the volume, and listen to see if the sound is stable; judge the corresponding characteristics of the system by moving left and right, and increase the volume until your ears just don't feel any discomfort. Choose the expressiveness of the bass in the software, such as drums and cellos, to see if it is thick and powerful, not muddy, not light, and can be released and controlled; use the human voice to judge the performance of the midrange, and the layers must be clear and not suppressed. Not exaggerated, mellow and rich; use the sound of violins and metal percussion instruments with rich overtones to judge the treble of the equipment. The ones that are delicate, smooth, bright and transparent, and accurately positioned are better; use percussion music (such as breaking glass, etc.) to listen to its instantaneous state, dynamics, and damping characteristics; use symphony to judge the sound field, momentum, and overall frequency response balance, as well as the sense of depth and presence; use a high volume to listen to the base power margin and dynamic range; use a very small volume to judge the performance at low output ability. Stage curtain
The curtain is the curtain that separates the auditorium and the stage. It is the portal of the stage and the main curtain of the stage. It is mainly used for opening and closing at the beginning and end of meetings or performances. Sometimes it can also be used as a curtain.
Located inside the proscenium stage, between the proscenium stage and the false proscenium. There are many types of curtains, such as: split type, lift type, stacked type, one-side opening and closing type, and tilt-pull type. Audio equipment
Sound quality of audio equipment: In sound quality evaluation, balance and nature are the goals we should pursue. Some people mistake good sound quality for the rendering of bass and treble. No wonder some operators often push the bass and treble buttons to the extreme when displaying their products, giving customers who seem to understand but not understanding a sense of freshness, losing balance and naturalness, and covering up some shortcomings. In fact, there is a popular opinion among audiophiles; bass is easy to find, treble is hard to find, and midrange is even rarer. Stage design
The power amplifier converts the audio voltage signal into an audio signal and drives the speaker to produce sound. of a device. The power amplifier plays an extremely important role in sound amplification. Without a power amplifier, the speaker cannot play sound, and there is no sound amplification at all. Digital lighting
Centralized control and application of digital lighting
With the rapid development of digital technology in all walks of life, the field of professional stage lighting has gradually entered the era of comprehensive digitalization.
Currently, professional lighting equipment used in large-scale outdoor performances in China: such as square parties, large and medium-sized solo concerts, and indoor large- and medium-sized stage plays (including studios), such as digital dimming consoles, computers Most of the lighting controls, digital silicon boxes, computer effect lights, computer color-changing lights, follow-spot lights, computer color-changing devices, laser lights, etc., use digital control. How to connect these devices to achieve accurate control and realize the overall scheduling of stage lighting is a headache for most lighting control companies. Modern stage lighting designers have proposed a new management concept for stage lighting - unified management and centralized control.
It is to connect multiple digital lighting equipment with different functions and effects and control them with one digital dimmer. For example, we connect digital dimming silicon boxes, digital color changers, computer effect lights, computer color changing lights, digital cigarette machines, digital bubble machines, etc. to a computer console and are controlled by a lighting engineer . Practice has proved that it is feasible. This involves the DMX512 signal transmission system that everyone in the industry is familiar with. Stage design
DMX is the abbreviation of Digital Multipiex. Translated as Digital Multiplexing Protocol, it is defined by the United States Institute of Theater Technology (USITT). It has been recognized and followed by stage equipment manufacturers around the world as a widely adopted digital lighting data protocol; that is to say, in this link Each controlled unit must comply with the requirements of this agreement to achieve centralized control.
DMX is based on RS422/RS485 serial transmission. The data transmission rate is 250Kbit/s. The maximum loop control is 512 channels (of course there are also 1024\2048 loops, but that is based on 512). added together). Due to the high transmission rate of DMX signals and the special needs of the application environment, DMX signal lines, signal transfer interfaces and signal transmission between each unit have strict requirements to ensure the accuracy of signal transmission.
DMX allows an effective transmission distance of 250m. The condition is to use high-quality signal lines and place them in independent prohibition slots during construction; if it is a mobile performance or a place with serious external interference, the length of the signal line should be reduced accordingly to shorten the transmission distance. If the project requires the transmission distance of the signal line to be greater than 250m, a signal amplifier that complies with the 512 Agreement should be installed. Usually a DMX512 interface can drive up to 32 digital devices; if all receivers use DMX487 integrated blocks to receive signals, then a DMX output interface can drive 128 digital devices.
If a DMX512 system has more than 32 devices, a signal distributor must be installed. Its functions are signal isolation, signal distribution, and signal amplification. A signal distributor has 2 to 6 output ports (imported ones have 4 to 8 output ports), a signal input port, and a loop interface. It can meet the distribution of lighting system signals for small and medium-sized stages or studios; If it is in a larger square (such as a stadium), multiple signal distributors must be installed to meet system needs.
In stage practice, after installing a signal distributor that complies with the DMX512 protocol in a multi-unit centralized control link, in addition to amplifying the signal and extending the control distance, , and another advantage is: if a certain lighting equipment fails (such as leakage, short circuit, etc.), the distributor has a photoelectric isolation device, which can effectively protect the lighting equipment in the link. In a DMX link with multiple equipment units, the signal interface of the last lighting equipment should be equipped with a "terminal plug" to serve as impedance matching, eliminate clutter reflections in signal transmission, and purify signal components. This is an important link to ensure the normal signal transmission of the DMX512 system. The specific connection method of the "terminal plug" is as follows: Weld a 90~120Ω 1/4W small metal film resistor between pins 2~3 of a five-core XLR plug. The impedance should be referred to the instruction manual of the dimmer. Once done, just plug it into the signal output of the last device. In addition, some digital lighting equipment has terminal switches. If this equipment is placed at the end of the entire link, the switch should be set to the allowed position, otherwise it should be moved to an invalid position. The DMX protocol requires the use of a five-core plug-in in the link. Only three cores are used during construction, namely: cores 1, 2, and 3, and cores 4 and 5 are left empty. At present, most imported equipment in lighting systems uses five-core interfaces. Stage design
In summary, to achieve centralized control of large-scale lighting systems, construction personnel need to have clear concepts and standardized installation to ensure reliable operation of the system. This ensures the smooth performance of on-site lighting effects such as large-scale variety shows and major conferences.
Scenery boom
Scenery boom is an indispensable piece of equipment in modern theaters. It is mainly used for hanging scenery, props, lights, curtains, and for hanging safety belt props when performing acrobatics. Lighting boom
Lighting boom is also an indispensable piece of equipment in modern theaters. Its main function is to hang lighting fixtures, and can be used for other purposes under special circumstances. False proscenium
False proscenium can also be called "movable proscenium", which is located behind the frame stage proscenium. The horizontal movement of the cabinets on both sides and the up and down movement of the horizontal frame can change the proscenium frame. The size changes the visual ratio of screen width and height. Elevating orchestra pit
The orchestra pit is a place where the band performs. Elevating orchestra pit is a common mechanical equipment on modern stages. It is set at the front of the stage and can have different height changes to form various forms of use. By using the orchestra pit to lift, you can Expand the auditorium, expand the stage, and extend the performance area. There are many forms of lifting transmission for the lifting orchestra pit. The mechanical scissor support method has smooth lifting and low noise. And the scissor structure achieves stroke amplification, making the foundation pit shallower and saving investment. Stage design
Asia's largest water stage theater -----Personalized theater-style stage machinery stage design background introduction
The First World Grand Theater is the main venue of the first World Leisure Expo , mainly responsible for the World Leisure Conference, song and dance performances, and tourism live performances. This is the largest indoor water stage in China, with more than 3,000 audience seats and a water stage area of ??4,900 square meters.
Challenges faced
1. How to use the water stage? How to operate large ships and submarines?
2. How to make large waterfalls and water curtains?
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3. How to leave space for fire, water explosion and other effects?
4. How to use water stage and dry stage skillfully? Solution
Jiahe makes full use of it The space of the water stage maximizes the magical effect of water on artistic performances. A large number of stage machines are produced in the water stage to solve different transformations of space.
The turntable synchronized with the "speed of light" ------ classic stage machinery
Background introduction:
The turntable was designed for the original musical "The Movie" "Song" is tailor-made. This play was created to commemorate the 100th anniversary of Chinese cinema, with stage design by Mr. Yip Jintian. The double-ring turntables are 9 meters and 14 meters in diameter, requiring future global tours.
Challenges faced:
1. Movable disassembly type, requiring installation time within 24 hours.
2. The thickness of all motors and steel frame equipment is 300mm.
3. The fastest turning speed is 2.2 meters/second.
4. Motion positioning and synchronization accuracy 10mm.
5. Fully automated control.
Jiahe Technology Jiahe Solution:
1. The feasibility of technology determines the maturity of the entire system. The company's mature and advanced two-way extrusion self-sliding friction drive form is used to determine the power system.
2. Determine the disassembly and assembly form of the steel structure and the mechanical transmission form.
This is the most intense and complicated part of the debate among engineers. When engineers are in doubt, the most practical and traditional way for Jiahe is to test samples. This time, it is two stages based on actual samples 1: 1 produced at the same time. For design judgment and thinking.
This is a steel supporting wheel and positioning guide device
It is precisely because of the continuously improving design and the most suitable and flexible technology that the turntables used now are better.
Now it only takes eight hours to build a turntable. The fastest speed can reach 2.8m/s, the noise is ≤42db when rotating at slow speed, and the noise is ≤55db when rotating at high speed.
3. Automation control technology
This is the core of the entire turntable technology.
It is also a true stage automation control:
(1) The console can be placed anywhere in the theater. When walking on the stage, it can be placed next to the director to quickly meet the latest requirements of the performance. Because only one thin wire is needed to connect the console to the scene.
(2) All built-in scenes can be selected and run in sequence.
(3) The motion status can be monitored in real time, and the turntable position can be detected in real time. Prevent cumulative errors.
(4) The movement angle and time requirements can be set arbitrarily. Arrive exactly within this time.
(5) It only takes ten seconds to create, adapt, and add any scene.
(6) During the performance, the start time of movement will be delayed due to the placement of props. After automatic operation, the operator can manually accelerate and use acceleration to ensure the final arrival time is accurate.
(7) Movement recovery is fast and convenient, ensuring no pause during rehearsal. Stage lighting
Stage remote spotlight
The lighting uses aspherical plano-convex optical lenses with a light transmittance of 92 and high light spot uniformity. The illumination distribution curve projected by the lighting is smooth and continuous. sine wave changes. It solves the problem of black spots appearing in the center of ordinary spherical spotlights when lighting, making the stage effect more perfect. When a similar spotlight has a projection distance of 30m, the illumination is about 500Lux when the spot diameter is 2.5m, and there will be a black spot in the center. Aspherical lamps can reach 900Lux under the same conditions, and the spot is uniform. It can better solve the problem of long-distance light casting. Stage Design and Stage Art Society
Introduction to China Stage Art Society
(1981.1---2005.2)
In early January 1981, China Stage Art Society was established in Beijing. Externally known as the "International Stage Arts Organization (OISTAT) China Center", it is a national academic organization approved and registered by the Central Ministry of Civil Affairs (Social Certificate No. 4258) and under the supervision of the Central Ministry of Culture. Over the past 25 years, it has become an academic center uniting stage art workers across the country and an academic group that has attracted widespread international attention.
The society currently has more than 3,500 Chinese members (the number of re-registrations), as well as 20 overseas honorary members and group governing units.
The society holds various academic activities, professional training courses, and various exhibitions every year. The main ones include the first national stage art exhibition held in Beijing in 1982; in 2000, he went to Taiwan to participate in the "2000 Chinese Regional Theater Visual Art Exhibition and Academic Seminar"; in December 2003, the "China's Second Stage Art Exhibition" was held in Nanjing. ; In September 2004, the "2004 Chinese Regional Stage Art Seminar and Outstanding Stage Art Works Exhibition" was held in Hangzhou.
The society selects the "China Stage Art Society Award" every year to commend and introduce outstanding works and outstanding stage art creators.
The society edits and publishes the academic journal "Stage Artist", twice a year, which has become an academic garden for theoretical research and a window for exchanges and connections. The society has published large-scale stage art albums "Chinese Stage Art 1949--1982", "Chinese Stage Art 1983--1999", "China's Second Stage Art Exhibition Collection", and more than ten professional stage art albums and books. kind. In 1984, with the approval of Vice Prime Minister ***, the society joined the International Stage Art Organization (OISTAT) and conducted extensive exchanges. In 1994, it hosted an international stage art conference and invitational exhibition in Beijing attended by 14 countries and regions. wait. It has organized groups five times to participate in the Prague International Dance Exhibition (PQ Exhibition) held every four years. Stage design
Sun Haoran, the first president of the society, Xue Dianjie, the second and third president, Liu Yuansheng, the fourth and fifth president, and Cai Tiliang, the current (sixth) president. It currently has the Society Office, Creative Research Department, Academic Publishing Department, Organizational Liaison Department, External Exchange Department, and 7 professional committees including Opera Art, Lighting, Sound, Scenic Technology, Costume and Makeup, Television Art, and Theater Technology.