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May 2008

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City Theatrical’s EFX Plus2 projector unit mounted on an ETC Source Four ERS is one option to create a variety of moving effects.  

Steel pattern gobos can be fitted with a split, or variegated, gel to create a threedimensional appearance. Shown here, a steel gobo from Apollo.  

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A selection of crushed dichroics, such as these by Apollo, can be put into the gate of an ellipsoidal reflector spotlight (ERS) to add color to a pattern or for a color effect. Moving effects created from the combination of gobos, crushed dichroics, and rotators are one of the most popular and cost-efficient ways to create visual interest.  

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City Theatrical's Multiplexer uses prisms to multiply an image six times and can be used with static or moving images.  

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GAM’s Film/FX adds a continuous loop motion for effects including rain, snow, fire, and water ripples. Lighting manufacturers’ websites are a good source of ideas to help decide which effects are right for your ministry.  

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Projected stained glass windows are one option available to lighting designers that can be used in multiple settings. Shown here, a stained glass, glass-material gobo from GAMPRODUCTS  

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Lighting designer Greg Persinger with Design 2020 Church Media Consultants used gobos and color washes at the Straight Gate International Church in Detroit, Michigan to achieve lighting interest on the stage.  

When you approach your lighting design for a service or a production, there are times when you may need a lighting special effect or two to help reinforce the message or help tell a story. There are quite a few ways to produce lighting effects and not all of them require a lot of money to accomplish. Of course, an unlimited budget can help you solve any number of challenges, but using the challenge of a limited budget—and some imagination—you can produce some wonderful effects. The one thing to remember is that while there are guidelines to producing effects, even the ones in this article, there really are no rules; no wrong way. If it works for you, for the production, and it is safe, then it works no matter if it costs $1.00 or $500.

For this article, I am looking at lighting effects that work on their own or in conjunction with a standard theatrical fixture, most often an ellipsoidal reflector spotlight (ERS). You can accomplish many of these effects with a moving light, but we will look at the uses of this technology in another story. I’ll be looking at patterns— also called gobos—both steel and glass, gobo rotators and moving effects, flicker generators, candles, strobes, and effects accessories.

Gathering Inspiration
The first thing that you need to do is decide what effect that you are aiming for—do you need fire, water ripples, a flickering TV, clouds, etc. Once you know the effect desired, and the scope of the effect, you can then try to work out how you will achieve the effect. A good starting point for research is lighting manufacturers’ websites where you may find suggestions, many with MPG movie clips to see the effect in motion. Try to play with different lighting effects after services or at a time when you aren’t rushed for a solution. Try different methods and tricks to create an effect. Keep notes on what works and what doesn’t. A lot of times you will come up with a happy accident that produces a result you did not expect, but that you love. Try things like different focuses with the light using a gobo—there is a focal point where the pattern will appear crisp and in sharp focus. By running the barrel in and out, you will go in front of and behind focus, where the image goes soft or out of focus. This method can take a pattern that looks sharp one way and give you a completely different look out of focus. A flame pattern turned sideways and taken out of focus can look like waves of water. You can also mix color in the same light. You can cut plastic color filters (or gels) into strips or shapes, tape them together and put your unique gel into the color frame.

This is referred to as variegated color. The technique can produce some rather interesting effects, helping capture some of the rich mix of colors that are in natural light at different times of the day, such as sun through trees when mixed with a leaf gobo in the ERS.

I spoke with a few lighting designers who work in houses of worship and with some of the leading manufacturers of lighting effects gear. I’ll start with what the manufacturers suggest you consider when looking for lighting effects gear. K.C. Hooper, product specialist with Fort Wayne, Indiana-based Apollo Design Technology Inc., discusses some of the more popular lighting effects that he sees created in churches using Apollo’s products. “Moving effects created from the combination of Apollo gobos, crushed dichroics, and Smart Move rotators are one of the most popular and cost-efficient ways to create visual interest. The right combination can be used to add mystery or revelation-type images, or they can also be focused to create a stand-alone illusion, such as a starry night or fire.”

Apollo also offers a variety of effect formulas listed and demonstrated on its website that are popular with designers, according to Hooper. A few examples include very effective, low-cost water, snow, or sunrise effects, a spirit or ghost simulation, a shimmering star animation of the Star of Bethlehem, and a projected stained glass window.

Hooper also suggests a list of things to consider when adding lighting effects. “Talk to local theatrical lighting dealers about how to create specific effects. Also manufacturers always have product managers or specialists that are willing to discuss various approaches to lighting effects.

Don’t try to buy the entire lighting package at one time. Slowly build your lighting inventory through purchases and rentals; even consider working with other area churches to share special effects gear—if scheduling permits,” he says. And he adds, “Remember where you want the focus of the viewer when using motion effects. The slower the movement, the less distracting from the main focus of the scene. To be cost effective, when considering glass patterns, choose images that can be utilized in multiple settings or presentations. A full moon can be focused larger or smaller in different productions to change the look. Clouds and stars are also good universal use projections. Finally, try using a split gel [variegated gel] which can give simple steel patterns a three-dimensional appearance.”

Gary Fails, president of City Theatrical Inc. in Carlstadt, New Jersey, points out, “Candles have always played a role in religious services, and our Candle Lite Unlimited electronic flicker candle is a great substitute when an open flame is too dangerous to use. Many churches give our electronic flicker candles to the choir or for use in processions. The largest use, though, may be in the windows of churches during the holiday season. Using our electronic flicker candles provides a very festive and realistic effect that can be seen by everyone passing by outside.”

Another popular effect, according to Fails, is a projection tool that his company offers. “Churches often project cloud effects onto the backdrop by using our EFX Plus2 projector. The EFX Plus2 drops into any Source Four ellipsoidal spotlight from 5 degrees to 50 degrees, and by using two 14-inch image disks that can be independently controlled in speed and direction, very realistic cloud effects can be made. Besides clouds, hundreds of other effects such as rain, snow, flames, and water can be created by using different combinations of disks, art glass, rotation, and focus,” Fails says.

Keeping in mind that sometimes the simple effects are the most effective, Fails suggests looking at a unique tool in the City Theatrical tool kit. “Since City Theatrical’s Image Multiplexer can multiply an image six times, it is often used with a stained glass template and a variegated gel to create large ‘stained glass’ backdrops. Also, remember many dramatic effects look better on a darker stage, so the use of contrast is important. A bright, fully lighted stage will wash out most effects,” he contends.

President Joe Tawil of Los Angeles, California- based GAMPRODUCTS Inc. says his company’s GamPatterns are popular due to their simplicity and effectiveness. “Patterns would be first on the list,” he states. “Behind that would be our moving effects for more elaborate displays, where the TwinSpin, SX/4, and Film/FX come into play as well as our FlickerMaster. One interesting application for projection was a church’s use of Fire Loop to suggest Moses discovering the burning bush in the desert.”

Tawil also urges technical staff to consider availability of power, mounting positions, and the number of light fixtures needed to accomplish an effect. “Simple is usually best because oftentimes [the effect] has to be something that volunteers can accomplish. Patterns, therefore, are in that category of simple and effective, and are very economical,” he adds.

Joshua Alemany, director of product marketing for Rosco Laboratories Inc. of Stamford, Connecticut, points out that in addition to Rosco’s sizable pattern line, some Rosco products can aid lighting designers in getting desired effects. “The iPro Image Projector allows the lighting designer to truly tailor the lighting effect to the preference of the minister or director; Rosco Glass gobos like Colorizers and Prismatics are a low-cost way to create some of the more generic multi-colored effects like rainbows and stained glass; and Keystroke is being used to combine lighting, sound, and even hymnal playback into one cohesive cue stack,” he reports.

Designer Tips
There is a lot of great gear available to achieve nearly any desired effect, so what are some leading designers using and what tips can they share with you? Lighting designer David Martin Jacques believes that when considering adding a lighting effect to a church production or service that it be “very simple; never allow the effects you use to upstage the message of the moment. Remember, lighting designers must support what is going on, not distract from it. Special effects can be very powerful lighting tools. Don’t misuse this power.”

When Jacques does use effects, he says, “Probably the most common effects I use are gobos. I use gobos for both projecting images on surfaces and for adding to the texture of the atmosphere. As people walk though textured light, the sense of movement is accentuated.” Jacques explains some of his more advanced effects, “It depends on the design. For instance, right now I am using several Wildfires for a blacklight effect. Parts of the set are painted in blacklight paint and are visually activated when the Wildfire illuminates the paint. I am also using a wonderful new product from Rosco called the X24 X-Effects. This produces a very powerful moving water and fire image.”

Greg Persinger, principal consultant with Design 2020 Church Media Consultants in Harrisburg, North Carolina, advises that tech staff think about why they are doing an effect when designing for churches. “For full church productions I have used strobes, gobo rotators, custom gobos, flicker generators to simulate fire and torches, smoke machines, haze generators, lasers, and pyrotechnics to add those extra touches to the production’s story line. You must make sure that the effect is tasteful and actually adds something to the production. You are trying to add to the storyline, not do a special effects show. An effect isn’t the main part of your design, just a small piece that helps round out the design and finishes it off,” he says.

To Buy or to Rent?
With all the many options of lighting equipment and different lighting effects that are possible, think about your specific situation when deciding whether to buy or rent a lighting effect. “If a church has trained lighting technicians who can service the equipment, then buying may “The primary lighting design is the cake and the lighting effects are the icing. You can have cake without the icing, but icing without the cake is just wrong.” — Greg Persinger, principal consultant, Design 2020 Church Media Consultants be a good option,” comments Jacques. “If not, then you will end up with some very expensive gear that may not be working. Renting is always a good option because if something goes wrong the rental company can usually send you a replacement.”

Persinger cautions that church personnel should think about how a product will be used before acquiring new equipment. “Renting vs. buying is a big deal for most churches; when they rent they have the idea that their money is being wasted. However, if you purchase an expensive effect and never use it again, you have wasted your money. I think that it is best to rent any item that would only get limited use unless you could own it at the end of your rental period for the same or slightly more then the rental fee.” The exception to this rule, according to Persinger, would be items that require either a lot of maintenance by specially trained technicians or expensive replacement parts.

For staff wanting to purchase at least some core lighting effect equipment, here are suggestions for staple products. “Gobos can always be used, and can last almost forever,” says Jacques. Persinger agrees, “Gobos are cheap and easy to come by and add a great deal of bang for your buck. Every time you make a gobo purchase, buy four or six of each kind and file them away for occasions when you need that special touch.”

For the most part, the lighting products discussed here are simple and practical to use. Get a demonstration or instruction from a dealer or manufacturer and try out the effect. The better you know a product, the more you will get out of it. In the end, effects are there to support the message and the production; be sure they fit with the overall design and don’t stand out for their own sake. Then you can enjoy the effects of your efforts.

Michael S. Eddy writes about design and technology. He can be reached at mseddy2900@hotmail.com.   Email Michael S.