Theatrical Lighting Design for Chicago: A Musical Vaudelille

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Title:
Theatrical Lighting Design for Chicago: A Musical Vaudelille
Physical Description:
Project in lieu of thesis
Creator:
McShane, Michael J
Publisher:
College of Fine Arts; University of Florida
Publication Date:

Thesis/Dissertation Information

Degree:
Master's ( Master of Fine Arts)
Degree Grantor:
University of Florida
Committee Chair:
Kaye, Stanley
Committee Co-Chair:
Remshardt, Ralf

Notes

Abstract:
The University of Florida’s production of Chicago: A Musical Vaudeville was performed from November 11, 2011 through November 20, 2011 on the H.P. Constans Mainstage. My assignment was to design and implement a theatrical lighting design for this production. This design allowed for ample exploration in lighting a complex multi-set musical imbued with alluring choreography in the style of Mr. Bob Fosse.
General Note:
Theatre terminal project

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Source Institution:
University of Florida
Rights Management:
Copyright Michael J. McShane. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
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AA00025553:00001


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THEATRICAL LIGHTING DESIGN FOR CHICAGO: A MUSICAL VAUDEVILLE By MICHAEL J. MCSHANE PROJECT OPTION IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2014

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2014 Michael J. McShane

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To Shamrock McShane.

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TABLE OF CONTENTS page ACKNOWLEDGEMENTS .......................................................................................................5 ABSTRACT ...............................................................................................................................6 CHAPTER 1 DRAMATURGICAL RESEARCH ..............................................................................8 2 PRODUCTION CONCEPT ........................................................................................13 3 DESIGN PROCESS ....................................................................................................14 4 EPILOGUE ..................................................................................................................21 APPENDIX A RESEARCH IMAGES ................................................................................................22 B CUE SCORE ................................................................................................................50 C FINAL LIGHT CUE SHEET ......................................................................................96 D FOLLOWSPOT CUE SHEET ...................................................................................112 E DRAFTING ...............................................................................................................131 F DESIGNER PAPERWORK ......................................................................................139 G EXPENDATURE DATA ..........................................................................................250 H SPECIFICATION SHEETS ......................................................................................259 I PUBLICTY DOCUMENTS ......................................................................................402 J PRODUCTION PHOTOGRAPHS ............................................................................413 K HOT HONEY RAG CUE SEQUENCE ............................................................... 440 LIST OF REFERENCES .......................................................................................................442 BIOGRAPHICAL SKETCH .................................................................................................444

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ACKNOWLEDGEMENTS I would like to thank my father, Shamrock McShane, who raised me in a life in the theatre. Dr. Linda Hermer, Charles Ely and Dr. Judith Williams for their persistence and encouragement when I pursued my Master of Fine Arts. Stan Kaye, my advisor and mentor, who gave me this excellent opportunity. Mr. Tony Mata for his trust in my craft. Ben Hawkins and Alena Aissing, my wonderful design assistants, for their patience and expertise to realize my design. The University of Floridas School of Theatre and Dance for welcoming me back. Master electrician, Todd Bedell. The Electrics Shop: B. Lussier, Tim Reed, Ryan Bible, and Topher Stumreiter. The Chicago Design Team: Janiel Myers (Stage Manager), Jovon Eberhart (Scenic Design), Stacey Galloway (Costume Design), and Kim Yeoman (Properties Design). The Santa Fe Opera for allowing me to serve an apprenticeship and opened the door to meet Broadway lighting designers Rick Fisher and Ken Billington. This lighting design is dedicated posthumously to Paul Favini.

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Summary of Project Option in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts THEATRICAL LIGHTING DESIGN FOR CHICAGO: A MUSICAL VAUDEVILLE By Michael J. McShane April 2014 Chair: Stanley Kaye Co-Chair: Ralf Remshardt Major: Theatre The University of Floridas production of Chicago: A Musical Vaudeville was performed from November 11, 2011 through November 20, 2011 on the H.P. Constans Mainstage. My assignment was to design and implement a theatrical lighting design for this production. This design allowed for ample exploration in lighting a complex multi-set musical imbued with alluring choreography in the style of Mr. Bob Fosse.

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How can anyone do their thesis on Chicago? Ken Billington, Broadway Lighting Designer. "Hurt the People!" A Gainesville, Florida Theatre Idiom Shamrock McShane

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CHAPTER 1 DRAMATURGICAL RESEARCH Robert Louis Fosse (June 23, 1927 September 23, 1987), better known as Bob Fosse, was a legendary American choreographer and filmmaker. Fosses contributions as a choreographer on Broadway include Chicago: A Musical Vaudeville, The Pajama Game How to Succeed in Business Without Really Trying, Little Me, Sweet Charity, Redhead, and Pippin. Fosse had the opportunity to direct and choreograph some of Broadways legendary performers, among them: Gwen Verdon, Joel Grey, Liza Minelli, Ben Vereen, Chita Rivera, Sid Caesar, Shirley McClaine and Jerry Orbach. Fosses style of filmmaking greatly impacted how dance is depicted in film. With his films, Sweet Charity, Lenny, Cabaret, All That Jazz, and the television special Liza with a Z, Fosse showcased the performer at their zenith. In The Fosse Style, Ben Vereen said of Bob Fosse: to have worked with Bob Fosse is to have had your hand directly on the pulse of life. On the outside the work may look wonderfully stylish and easy; however, it comes from that inner pulse of life. Gwen Verdon, Fosses longtime partner, said of his choreography, Its funny. Its sexy. Its quick. Its romantic. Theres so much detail. And, you have a sense of accomplishment when you are finally able to accomplish it. Bob Fosse confided in Ben Vereen if you learn to dance this way, youll dance for the rest of your life (McWaters ix). Fosse turned his singer-dancers into dangerous and at times sexually inviting liars and crooks [who] lead the audience to fall in love with them. The cooler the choreography and the more flawed the character, the hotter the dancers. Fosse brought to a Broadway audience, aspects of theater in which sex and vulnerability consort with humor and cynicism (McWaters xii). Fosse was more interested in musical staging than choreography in the way that Jerome Robbins or Marge and Gower Champion would approach a number. Fosse had the uncanny ability to fix shows by putting dance front and center to

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camouflage a paper-thin score or a weak book (Gottfried 179). He learned from Broadway masters George Abbot and Hal Prince how to be an eleventh-hour stage paramedic who could resuscitate an out-of-town flop and turn it into a Broadway box-office blockbuster (Grubb xx). In Charlie Chaplin, Fosse found his model: a skinny little vaudevillian with a bowler hat and a cane, the star performer who had become a writer, a director, [a composer], and even a producer (Gottfried 125). The movements of Chaplins Little Tramp character are an example of what Fosse would in 1974 term eccentric dancing. This was the style of dancing Fosse saw used by vaudevillians whose sources for steps were eclectic and whose execution of movement was idiosyncratic (McWaters xiv). The word eccentric also means, off-center. In Fosses choreography an off-center visual style is constant in either walks or in asymmetrical isolations or poses (McWaters xiv). While choreographing the film Kiss Me Kate, Fosse had the opportunity to work with Carol Haney. Haney introduced Fosse to the dance language of Jack Cole, a prominent choreographer in post-WWII Hollywood. Cole established the rhythmic snapping of fingers in his choreography. Fosse did not mimic Cole in his steps, nor did he adopt Haneys own mannerisms wholesale. Fosse was exploring and finding his dance self (Gottfried 73). Fosse met Gwen Verdon, another disciple of Jack Cole, while choreographing George Abbots Damn Yankees. Verdon became synonymous with Fosses choreography and became his dance and life partner. In spite of Fosses blatant promiscuity, Fosse and Verdon were an inseparable duo. Bob Fosse died of a heart attack in Gwen Verdons arms on September 13, 1987 after leaving the National Theatre before the opening night of the revival of Sweet Charity. He was sixty years old. While Fosses choreography is at the heart of Chicago: A Musical Vaudeville, the musical is quintessential Kander and Ebb. . [It] uses performance to draw attention to the

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relationship between theatre and everyday life. John Kander (b. March 18, 1927) and Fred Ebb (April 8, 1936 September 11, 2004) worked for nearly forty-two years as a preeminent songwriting team of late twentieth century Broadway musicals. The two grew up in the time of post-World War II optimism. Kander and Ebbs approach made the musical more socially aware, more political, and more international. Kander and Ebbs career coincided with several major changes in the genre of musical comedy. Their work spans across the post-Rodgers and Hammerstein era, the rise and fall of the so called rock musical, the British invasion, the age of the mega musical, and the incursion of Disney on Broadway. In their lifetime, Kander and Ebb successfully transformed the musical theatre genre into something more than just entertainment. The art form of the American Musical could entertain audiences while telling serious, mature stories (Leve 28-34). James Leve notes the composer and lyricist have strikingly different artistic temperaments (Leve 19) John Kander is more sentimental, while Fred Ebb is campy and cynical (Leve 19) Kander and Ebbs collaboration is a perfect balancing act. Their ability to produce accessible songs has yielded quite an oeuvre of classic Broadway songs (Leve 24). The self-referential musical is most certainly an invention of Kander and Ebb. The exploitation of meta-theatre, the show within a show framework, is apparent in their work. In Kiss of the Spider Woman, Luis Molina dreams of a femme fatale who visits him in a cinematic fantasy. Sally Bowles performs Cabaret in the Kit Kat Klub in Cabaret. Roxie Hart obsesses over her name in the headlines in Chicago: A Musical Vaudeville. Kander and Ebb keenly resolve the inherent contradiction of breaking into song in the middle of a realistic scene (Leve 5). This exploration adds a diversionary, edgy quality apparent in their work (Leve 22). Fred Ebb explained their exploration best: Were looking for a new form of musical theater, one thatll

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break away from whats become stale and static, and self-imitative. Were looking back in time only to look forward in form (Leve 35). Kander and Ebb caused a paradigm shift for the American musical comedy along with Joe Masteroff in the landmark Cabaret. Its fame was not particularly expected in 1966 and it allowed Kander and Ebb to make their mark on Broadway. Cabaret combined Ebbs acerbic wit and Kanders broad stylistic range [to produce] powerful results. It was no doubt the dark subject matter and unconventional dramatic structure of the musical that allowed Kander and Ebb to soar into popularity (Leve 27-28). The composer/lyricist team created such memorable musicals as Flora, the Read Menace, Kiss of the Spider Woman, Curtains and The Scottsboro Boys. The film adaptations of their musicals Cabaret and Chicago both won the Academy Award for Best Film. Bob Fosse started with Fred Ebb on the script for Chicago: A Musical Vaudeville in 1973. Fosse and Ebb reset the Maurine Dallas Watkins [1926] play on a vaudeville stage so that all the musical numbers would be justified (Leve 31). Fosse perfected this technique in his film adaptation of Kander, Ebb and Masteroffs Cabaret. The structure of Chicago: A Musical Vaudeville was a gateway in response to changes in the status of the musical and [would address] a wider range of social concerns. Fosse was in a mood even blacker than his usual, for he was suffering post-operative depression after open-heart surgery (Gottfried vii). With his new outlook, there was no room in [Fosses] concept of the show for sentiment, Jerry Orbach observed. He wanted something with an undertone of corruption (Leve 87-89). The Cook County Jail became a Jazz Age prison where a collusion of the media and the criminal justice system meet (Leve 81). Interspersed with sketch like scenes, the musical would be supported by acts performed and introduced by the characters as if they were on a vaudeville stage. Initially

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a fun gimmick, this device allowed vaudeville to become a metaphor for the American justice system in which the best performance wins over the press and the jury. In Tony Waltons final design, the stage was raked in the manner of a vaudeville house. The result was a much more organic and seamless work than anything Kander and Ebb had written before or have written since (Leve 80). On June 3, 1975, Chicago: A Musical Vaudeville opened at the 46th Street Theatre. It ran for a total of 936 performances and closed on August 27, 1977. In May 1996, Walter Bobbie chose to direct Chicago: A Musical Vaudeville as a limited four-performance run in a concert series entitled, Encores! Great Musicals in Concert. The production muted the 1920s aura and removed the vaudeville aspect. The show even removed the word vaudeville from the title. Chicago: The Musical was stripped of scenery and performed with actors in black costumes before an onstage orchestra, Chicago was set free to bare its nasty power (Gottfried vii). Ann Reinking reinterpreted Fosses choreography and revised history by creating additional choreography in the style of Fosse. In the eyes of some critics, this became an overly clichd choreographic use of pelvic grinds, tipped derbies, and Fosse look-alikes often effective but inevitably repetitive and ultimately a travesty of the original style (Gottfried vii-xvi). This production opened on May 10, 1999 and was an instant hit. It moved down the street to the Ambassador Theatre and opened on November 16, 1999 with a new book by David Thompson. For Kander and Ebb, the atmosphere for the revivals opening night, was all of a sudden electric (Leve 96). Chicago became a posthumous hit for Bob Fosse. As of April 2014, Chicago is currently both the longest-running musical revival on Broadway and the longest running American musical in history.

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CHAPTER 2 PRODUCTION CONCEPT Director Tony Mata wanted to evoke Bob Fosses 1975 production and its use of scenery, color and pizzazz and not Walter Bobbies showcase minimalism. The production would be staged on the H.P. Constans Mainstage. His production would be bluesy, jazzy, sexy, [and] sophisticated. There is sensuality to Bob Fosses original choreography, but there is also something dangerous about it. The director was certain that the plays environment should be metal and in no way elegant. The reflective quality that could be very interesting with lighting . The idea of the sharpness of the steel. Its a metaphor for the danger. What does that metal represent? Blades, knives and guns! The director wanted the set to have a sleazy quality. The lighting for the show should provide elegance to moments that would never be perceived as elegant: the life of women in a correctional facility. Only through song can the characters be taken out of the cold world and into the warmth of Kander and Ebbs music. The environment the characters inhabit is not sophisticated in any shape or form, the director said. Whats glamorous about being in jail? The glamour, color, and brightness would be achieved through lighting and the costumes. The productions aim was not to recreate an era; instead, to make the heightened sense of an era. The shows lighting should be so out there, the director said, that its in-your-face! Isolated lighting so that characters could seemingly pop out of nowhere. Vaudeville style footlights were most certainly an element requested for this particular show. The orchestra would play an integral part in the stage picture and its lighting should be affected within the musical numbers.

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CHAPTER 3 DESIGN PROCESS At the initial design meeting, the director presented his production concept. Scenic designer Jovon Eberhart presented period photographs of steel architecture in Chicago, Illinois to the design team. One of the books she brought was a scaffolding manual from 1918. At the second design meeting, the scenic designer presented a scenic rendering that offered plenty of opportunities for light to break through the set. The set had a physical cage around the band via scrim panels with a central revolving hexagon underneath the band where scenery could b e loaded out of sight upstage while a scene played downstage. There were multiple stair units, two Chicago firehouse/Fosse burlesque stripper poles, and vertical drop stair units. The design team at the second meeting discussed several approaches to footlights. The scenic designer suggested low-footprint MR-16 birdie fixtures in a footlight trough downstage to concealing the fixtures. As another source of uplighting for the performers, interim lighting design faculty member Jeremy Sinicki suggested implementing plexiglass overlays in the rotating hexagon platform so that Phillips iCove LED modules could light up the platform. Graduate lighting design advisor, Stan Kaye, suggested watching Rob Marshalls Chicago with the lighting designer for inspiration. Broadway lighting designer Jules Fisher lit the original show and the film. Fisher was Fosses lighting designer and was featured in All That Jazz Fishers lighting in Rob Marshalls Chicago is awe-inspiring. The lighting design advisor remarked how the musical numbers had little flecks of light that bounced off the highly reflective surfaces. What caught the attention of the lighting design advisor was the Hot Honey Rag light curtain in the film. Fisher alludes to two prior effects used in productions with Fosse. Fisher created a stunning logo that flickered to life to begin Fosses film All that Jazz. In Pippin, Fisher created the striking image where performers were silhouetted in a curtain of light. The lighting

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design advisor remarked that a similar luminous element could be a spectacular image to leave the audience with. The lighting designer drafted and constructed with aid of the electrics shop a custom light curtain. The Hot Honey Rag Light Curtain was a five-by-two grid of 9,360 LED Grain of Wheat (GOW) lights that was controlled by ten dimmers. A blackout drop was flown in behind the light curtain to enhance the perceived brightness of the light curtain. A Roxie and Velma sign made of lauan and rope light would fly in and be lit on the button of the song. Upon viewing the scenic designers rendering, the lighting design advisor suggested making the many rivets on the revolving hexagon platform luminous. The scenic designer would mold and cast the rivets from resin. They would then be spray-painted to look metallic. Sample LED Backlight modules were ordered as a potential solution. The lighting designer drafted the low heat/low footprint LED modules to scale in Vectorworks in alignment with the rivets on the scenic designers drafting. Subsequent tests with the scenic designer were conducted as to the spacing of the resin rivets with the sample modules. The tests proved quite successful, but would circumvent the scenic designers original intent of not running wiring through the revolving hexagon platform. After the third design meeting, the lighting designer researched mylar rain curtains and LED sources to provide a sparkle to the shows lighting design. The lighting designer consulted with costume designer Paul Favini as to which style and color to select for a potential purchase of a mylar rain curtain. Mr. Favini believed Rosebrands crushed ice style of lavender and silver mylar strips would look intentionally crinkly and be much more interesting than crisp mylar strips. The lighting designer found a solution during his apprenticeship at the Santa Fe Opera for an actor operated camera flash. For Gian Carlo Menottis The Last Savage, the electrics

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department wired a battery-operated nine-module LED into prop cameras. It was an excellent solution for the reporters cameras in Chicago. Property designer Kim Yeoman built the reporters cameras and assistant lighting designer Ben Hawkins wired a three-watt LED with a momentary switch. The director commented that the effect achieved by the designer was a brilliant solution. The lighting design team investigated how to make battery powered practical lamps for this production. The solution came from housing a singe three-watt LED chip in the base of an A-19 lamp minus the filament. The assistant lighting designer wired a prototype for the total cost of five dollars. The LED A-LAMP punched through the theatrical lighting and read very convincingly from a distance. The lighting design team did not investigate running the LED ALAMP through any rheostat or conventional theatrical dimming. The assistant lighting designer wired the LED A-LAMP into an existing standing lamp and a desk lamp that were pulled for the show. A mixture of water and glue was made to coat the lamps in the event one dropped to absorb the impact and reduce shattering onstage. This was a technique the designer saw used at the Santa Fe Opera for the lighting design of La Bohme. Luckily none of the LED A-LAMPs shattered. The budget for Chicago was not sufficient to cover any of the additional design materials researched and tested. The lighting design advisor suggested submitting a budget proposal to acquire the additional funds. The budget proposal passed offering the lighting designer over $4,000 more as part of his show budget. The elements to build the light curtain, luminous rivets, camera flashes and LED A-LAMPs were ordered and incorporated into the design along with a Rosebrand Crushed Ice mylar rain curtain and a new Wizard Velour full stage black curtain. Once the lighting designer made choices for gel color, he tested them in the School of

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Theatre and Dances Light Lab. With costume designer Stacey Galloway, the lighting designer conducted tests on available fabrics and several completed costume pieces. The gel color for the front light system, Gam 885, brought clarity to the textures in the costumes. Lee 716, a saturate blue gel, enhanced Billy Flynns jacket. Lee 127, a port-wine saturate pink gel, brought out Mama Mortons feather boa and the ensembles accent pieces for When Youre Good to Mama and Razzle Dazzle. The costume designer conducted a final test with several different tuxedo jackets pulled for the male ensemble in Roxie. The jackets were meant to match, but differences in texture and sheen were clearly visible in the lighting designers choice of crisp front light. Seeing this discrepancy allowed the costume designer to find an alternative solution for the tuxedo jackets. When costumes were added at the first dress rehearsal, the color and texture of the costumes read as both designers intended. When building his initial cue score, the designer considered every potential accent and shift in the music based off of the Broadway revival cast album. Lighting design assistant Alena Aissing interpreted the designers cue score into a preliminary followspot tracking cue sheet. The H.P. Constans Mainstage has two Lycian Midget II followspots. This model has only an iris and a shutter with no means to dim or douse the light. The lighting designer noticed a very clear imbalance in the quality of light emitted from the followspots. The house left fixture had a punch to the beam of light and could be focused to a very sharp, defined edge. In contrast, the beam of light from the house right followspot was not as bright and appeared to have an inability to maintain a sharp edged focus. Once the director realized this discrepancy, he played the mismatching followspots for laughs. Characters would fight to have the better followspot or command to have both followspots focused on them. Bradley Miller and Emily Parker were the shows followspot operators. The two had worked on the previous musicals City of Angels and

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Damn Yankees at the University of Florida. It was a load off the lighting designer's mind to hav e them on the run crew for the show. During technical rehearsals, assistant lighting designer Ben Hawkins kept notes and updated the followspot tracking paperwork. The lighting designer approached drafting the show by initially creating lighting systems in Vectorworks. Once the budget proposal passed, he made individual plates as to how the custom LED light curtain and luminous riverts would be constructed. The initial drafting was made three months ahead of the production schedule. It allowed the lighting designer time to take the systems he drafted in Vectorwork and import them into WYSIWYG. WYSIWYG, developed by Cast Software, is a powerful computer aided drafting (CAD) software that focuses on accurately rendering lighting for stage and film. The lighting designer first built a basic threedimensional model of the set that was placed in a pre-existing CAD model of the H. P. Constans Mainstage. He then added additional lighting positions and hung the virtual inventory based on the initial Vectorworks generated drafting. The designer saw vital rea-time data about photometrics, shutter cuts, color choices and angles on surfaces that matched the reflective quality of the constructed scenery. Critical errors in hanging positions for side lighting were obvious once the fixtures were turned on in WYSIWYG. The designer tested the flexibility of his lighting rig a month before it would be hung and focused in WYSIWYG. Once the designer focused the fixtures in WYSIWYG, he programmed cues using the Whole Hog III PC lighting console. The designer spent a month pre-visualizing and cueing Chicago in the School of Theatre and Dances Light Lab. Before technical rehearsals began, there were 450 cues preprogrammed into the console. Once the shows rig was hung and focused on the Constans Mainstage, the designer patched the instruments in WYSIWYG as they corresponded to the actual lighting fixtures. The

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changes made in WYSIWYG were transferred back into Vectorworks and then into Lightwright. The show file of the designers pre-visualized programmed cues was transferred from the Light Lab computer to the Whole Hog III PC lighting console that was used to program and run the show. The cues along with their fades, intensities, color and tracking successfully transferred. The process of working in WYSIWYG saved the lighting designer a lot time when it came time for the technical rehearsals. The lighting design for the show was programmed up to the finale sequence Nowadays/R.S.V.P./Hot Honey Rag prior to technical rehearsals. The lighting designer and his advisor watched together the first full run of act one of Chicago: A Musical Vaudeville. The designer took very accurate blocking notes, but the complexity of Mr. Dyers choreographer for The Cell Block Tango made it difficult to record all of the blocking for that particular number. The designer had to attend subsequent rehearsals to ascertain the blocking of that particular number. The blocking notation taken was sufficient to start cueing in WYSIWYG. The designer returned rehearsals to watch and take blocking notation during a full run of the second act of the Chicago. The directors style for this production followed in Bob Fosses footsteps and was finding it in the space. Bob Fosse said of his process as a director, My primary contribution to the show will happen when were in rehearsal. Thats when I think of lines, thats when I think of business, thats when I think of throwing out whole scenes or redoing them or re-conceiving them in terms of movement (Gottfried 290). The directors exploration was constant throughout the technical process. It took four meetings to entirely paper tech Chicago: A Musical Vaudeville. There was significant difficulty in scheduling due to the stage managers school schedule. The meetings were held with the stage manager and the scenic designer in the Lighting Lab. The lighting designer played back real-time cues in WYSIWYG that were synched to the tracks of the

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Broadway revival. The lighting designer gave the stage manager a strict cueing schedule for the cue-to-cue process during technical rehearsals. Each cue sequence in the show was carefully scrutinized by the designer and was given a precise amount of time needed in order to work through each sequence in the show. The lighting designer asked the stage manager to be given time warnings to maintain the strict schedule. The designer focused at the beginning of a technical rehearsal on more musical numbers with large quantities of cues. Then, priority was given to smaller cue sequences for ballads and book scenes. Nearing the end of a technical rehearsal, the lighting designer scheduled large ensemble numbers to maintain the energy of the technical rehearsal process. The lighting designer kept an accelerated pace in working through the first two days of technical rehearsals. On the third day of technical rehearsals, the director demanded the lighting designer slow down frenetic his pace so the director could properly take in the lighting for each moment of the show. The lighting designer slowed down to a more relaxed pace, but kept on track with his strict schedule. The director and stage manager were very grateful for the change in pace. When it came time to program the Hot Honey Rag, the designer spent three hours cueing the number independent of actors. The designer used a recording of a rehearsal made by his assistant as reference during cueing. The lighting designer recorded the completed cue sequence on his laptop and in Final Cut Pro superimposed each cue number to assist the stage manager in cue calling. The choreographer helped the lighting designer and the stage manager place the cues in their respective scores.

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CHAPTER 4 EPILOGUE On November 11, 2011, the University of Floridas production of Chicago: A Musical Vaudeville opened on the H.P. Constans Mainstage. Assistant lighting designer Ben Hawkins ran the lighting console for the entirety of the production and called followspot cues. Both the director and the lighting designers advisor were very happy with the designers work. The director told the lighting designer that he had successfully managed the design process of the musical better than anyone who he had previously worked with at the University of Florida. It was certainly an incredible feat for a designer who had previously never designed a musical. The production closed on November 20, 2011. The lighting designer received a nomination from KC/ACTF Region IV for the Barbizon Lighting Design for the University of Floridas production of Chicago: A Musical Vaudeville.

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APPENDIX A RESEARCH IMAGES

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Figure A-1. Logo from All That Jazz.

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Figure A-2. The ending of Airotica from All That Jazz.

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Figure A-3. Joe Gideon (Roy Scheider) in All That Jazz.

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Figure A-4. Bye Bye Life from All That Jazz.

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Figure A-5. Dorothy Valens (Isabella Rosselini) in Blue Velvet.

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Figure A-6. Ben (Dean Stockwell) sings Roy Orbisons In Dreams in Blue Velvet.

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Figure A-7. Sally Bowles (Liza Minelli) sings Mein Heir in Cabaret.

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Figure A-8. Sally Bowles (Liza Minelli) sings Maybe This Time in Cabaret.

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Figure A-. The Emcee (Joel Grey) in Cabaret.

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Figure A-. Velma Kelly (Catherine Zeta-Jones) sings All That Jazz in Chicago.

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Figure A-1. Roxie Hart sings Funny Honey in Chicago.

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Figure A-1. The Cell Block Tango from Chicago.

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Figure A-1. The Hungarian Rope Trick from Chicago.

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Figure A-1. Billy Flynn (Richard Gere) sings Razzle Dazzle in Chicago.

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Figure A-1. Roxie Hart (Rene Zellweger) and Velma Kelly (Catherine Zeta-Jones) in Chicago.

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Figure A-1. Rainbow Randolph (Robin Williams) and Smoochy the Rhino (Edward Norton) in Death to Smoochy.

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Figure A-1. Hot Honey Harlow (Valerie Perine) in Lenny.

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Figure A-1. Dustin Hoffman as Lenny Bruce in Lenny.

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Figure A-1. Lenny Bruce (Dustin Hoffman) leaves the Chinese Restaurant in Lenny.

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Figure A-. Dustin Hoffman as Lenny Bruce in Lenny.

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Figure A-2 Tony Shalhoub (Freddy Riedenschneider) in The Man Who Wasnt There.

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Figure A-2. Tony Shalhoub (Freddy Riedenschneider) in The Man Who Wasnt There.

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Figure A-2. Ed Crane (Billy Bob Thornton) In The Man Who Wasnt There.

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Figure A-2. Salvador Dali and Philippe Halsmans In Voluptate Mors.

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Figure A-2. Pablo Picassos The Blind Mans Meal.

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Figure A-2. Pablo Picassos The Old Guitarist.

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Figure A-2. Pablo Picassos The Poet Ceret.

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APPENDIX B CUE SCORE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 2 Preshow Preshow Look SM: When House Opens 4 Preshow House to Half 6 Preshow House Out/Fade to Black 8 I.1/p. 9 Focus on MASTER OF CEREMONIES VIS: When MASTER OF CEREMONIES is in place. 8 FS I.1/p. 9 Focus on MASTER OF CEREMONIES VIS: When MASTER OF CEREMONIES is in place. MASTER OF CEREMONIES 10 I.1/p. 9 Overture Out on MASTER OF CEREMONIES. Shift to TRUMPET PLAYER. MASTER OF CEREMONIES: "Thank you." 10 FS I.1/p. 9 Overture Out on MASTER OF CEREMONIES. Shift to TRUMPET PLAYER. MASTER OF CEREMONIES: "Thank you." 12 I.1/p. 9 Overture BUMP to CONDUCTOR. TRUMPET: End of Solo. 14 I.1/p. 9 Overture Shift to BAND Wash. CONDUCTOR: "Five, Six, Seven, Eight" 16 I.1/p. 9 Overture Movers kick to audience, stage look reveal. Shift in Music (See score). 18 I.1/p. 9 Overture Shift in BAND wash and stage look. Rotators on Band. Shift in Music (See score). 20 I.1/p. 9 Overture Shift in BAND Wash and stage look. 22 I.1/p. 9 Overture Focus on PIANIST Shift in Music (See score). 24 I.1/p. 9 Overture Shift back to full band. Shift in Music (See score).

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 26 I.1/p. 9 Overture Build on Band Shift in Music (See score). 28 I.1/p. 9 Overture/All That Jazz Blackout Shift in Music (See score). 30 CUT I.1/p. 9 All That Jazz Reveal Foreground Dancers CUT CUE 32 I.1/p. 9 All That Jazz Reveal Midground Dancers Shift in Music (See score). 34 I.1/p. 9 All That Jazz Reveal Background Dancers Shift in Music (See score). 36 FS I.1/p. 9 All That Jazz Reveal VELMA's light for her to ascend into. Shift in Music (See score). VELMA VELMA 38 CHA NG E I.1/p. 9 All That Jazz Accent VELMA VELMA: "And all that jazz. VELMA VELMA 40 I.1/p. 9 All That Jazz Build on VELMA VELMA: "stockings down / And all that jazz." VELMA VELMA 42 I.1/p. 10 All That Jazz Reveal BAND and Dancers. Music picks up. VELMA VELMA 44 I.1/p. 10 All That Jazz Shift. Build in Music (See score.) VELMA VELMA 46 I.1/p. 10 All That Jazz Shift to build around dancers. VELMA: "That" (Music bump.) VELMA VELMA 46 FS I.1/p. 10 All That Jazz Bump out Followspots VELMA: "That" (Music bump.) 48 FS I.1/p. 10 All That Jazz BUMP SPOT on Music beat before SKADOO SAYER. SKADOO SAYER

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 50 FS I.1/p. 10 All That Jazz BUMP SKADOO SPOT off SKADOO SAYER: "Skadoo" (beat, beat.) VELMA 52 FS I.1/p. 10 All That Jazz BUMP SPOT on Music beat before HOTCHA SAYER. HOTCHA SAYER 54 FS I.1/p. 10 All That Jazz BUMP SPOT off HOTCHA SAYER. BUMP spot on WHOOPIE Sayer Music beat before WHOOPIE SAYER. WHOPPIE SAYER HOTCHA SAYER 56 FS I.1/p. 10 All That Jazz BUMP spot off both. WHOOPIE SAYER: "Whoopie." 58 FS I.1/p. 10 All That Jazz Spots converge on VELMA Music beat before VELMA sings. VELMA VELMA 60 I.1/p. 10 All That Jazz Shift for dance. When Music shifts. COMPANY COMPANY 60 FS I.1/p. 10 All That Jazz Converge followspots to COMPANY When Music shifts. COMPANY COMPANY 62 I.1/p. 10 All That Jazz Shift out of dance Beat before VELMA: "It's just"* VELMA VELMA 62 FS I.1/p. 10 All That Jazz Go back to just VELMA Beat before VELMA: "It's just"* VELMA VELMA 64 I.1/p. 10 All That Jazz Transition to FRED moment. COMPANY: "That" (beat.) VELMA VELMA 64 FS I.1/p. 10 All That Jazz Out on VELMA COMPANY: "That" (beat.) 66 FS I.1/p. 11 All That Jazz Pick up FRED with a followspot Beat before FRED begins dialog. VELMA FRED 68 I.1/p. 11 All That Jazz Focus back to VELMA After three notes before VELMA: "Find a flask" VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 68 FS I.1/p. 11 All That Jazz Followspot out on FRED. After three notes before VELMA: "Find a flask" VELMA 70 I.1/p. 11 All That Jazz Company Bump After few notes before COMPANY: "And all that jazz." VELMA 72 I.1/p. 11 All That Jazz Company out Bump COMPANY: "And all that jazz." VELMA 74 I.1/p. 11 All That Jazz Build Footlights COMPANY: "And all that jazz." VELMA VELMA 74 FS I.1/p. 11 All That Jazz Build Footlights COMPANY: "And all that jazz." VELMA VELMA 76 I.1/p. 11 All That Jazz Shift VELMA: "Jazz." 76 FS I.1/p. 11 All That Jazz Spot out on VELMA VELMA: "Jazz." 78 FS I.1/p. 11 All That Jazz Company Look Music interlude before COMPANY: "Oh." GROUP 80 FS I.1/p. 11 All That Jazz Pop VELMA with followspot COMPANY: "Sheba shimmy shake." VELMA 82 FS I.1/p. 11 All That Jazz Followspot out. VELMA: "And all that jazz." GROUP 84 FS I.1/p. 11 All That Jazz Pop VELMA with followspot COMPANY: "..her garters break." VELMA 86 FS I.1/p. 11 All That Jazz Followspot out. VELMA: "And all that jazz." GROUP 88 I.1/p. 11 All That Jazz Shift slowly to just VELMA COMPANY: "Her mother's blood'd curdle." GROUP 90 FS I.1/p. 11 All That Jazz Iris down to VELMA COMPANY: "For all" VELMA 92 I.1/p. 11 All That Jazz Focus on HEX. VIS: Action on Hexagon

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 92 FS I.1/p. 11 All That Jazz Out on VELMA VIS: Action on Hexagon 96 I.1/p. 12 All That Jazz Focus on VELMA VELMA: "All" VELMA VELMA 96 FS I.1/p. 12 All That Jazz Focus on VELMA After musical interlude before VELMA: "All that jazz." VELMA VELMA 98 I.1/p. 12 All That Jazz Shift. Downbeat before "Come on, babe" VELMA VELMA 100 I.1/p. 12 All That Jazz Shift VELMA: "Start the car." VELMA VELMA 102 I.1/p. 12 All That Jazz Shift. VELMA: "And all that" FRED ROXIE 102 FS I.1/p. 12 All That Jazz Followspot tracks over to FRED and ROXIE. VELMA: "And all that" FRED ROXIE 104 I.1/p. 13 All That Jazz Response from COMPANY FRED: "I'm afraid so, Roxie." FRED ROXIE 106 I.1/p. 13 All That Jazz Fade out Company. FRED: "Yeah?" AUTOFOLLOW FRED ROXIE 108 I.1/p. 13 All That Jazz Strobe flash for gunshot with flash on and off of followspot.* GUNSHOT. OFF FRED/ON FRED ROXIE 108 FS I.1/p. 13 All That Jazz Strobe flash for FRED GUNSHOT. OFF FRED/ON FRED 110 I.1/p. 13 All That Jazz Strobe flash for gunshot with flash on and off of followspot.* GUNSHOT. 2 OFF FRED/ON FRED ROXIE 110 FS I.1/p. 13 All That Jazz Strobe flash for FRED GUNSHOT. 2 OFF FRED/ON FRED ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 112 I.1/p. 13 All That Jazz Strobe flash for gunshot with flash on and off of followspot. Focus to Company* THIRD GUNSHOT OFF FRED ROXIE 112 FS I.1/p. 13 All That Jazz Strobe flash for FRED THIRD GUNSHOT ROXIE 116 I.1/p. 13 All That Jazz Focus on ROXIE. COMPANY: "Hotcha." ROXIE 118 I.1/p. 13 All That Jazz Mover Kick/Blind Audience then back to stage. MUSIC interlude after ROXIE: "I gotta pee." 118 FS I.1/p. 13 All That Jazz Followspots out MUSIC interlude after ROXIE: "I gotta pee." 120 FS I.1/p. 13 All That Jazz Focus on VELMA MUSIC interlude after ROXIE: "I gotta pee." VELMA VELMA 122 FS I.1/p. 13 All That Jazz Iris down to VELMA and isolate. VELMA: "And all" VELMA VELMA 126 I.1/p. 13 All That Jazz Whole Company Look Beat before COMPANY: "That jazz." VELMA VELMA 128 I.1/p. 13 All That Jazz BUMP end backlight COMPANY: "That jazz." 128 FS I.1/p. 13 All That Jazz BUMP end backlight COMPANY: "That jazz." 130 I.1/p. 13 Blackout. AUTOFOLLOW Bump.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 132 I.2/p. 13 Fade up on Hexagon. VIS: When actors are in places. 134 I.2/p. 13 Funny Honey Backlight ROXIE. Down on Hex. AMOS: "I say freely and gladly.' BANDLEADER 134 FS I.2/p. 13 Funny Honey Focus on BANDLEADER. AMOS: "I say freely and gladly.' BANDLEADER 136 I.2/p. 14 Funny Honey Focus on ROXIE. BANDLEADER: "her dear husband, Amos." ROXIE 136 FS I.2/p. 14 Funny Honey Followpot pans to ROXIE. BANDLEADER: "her dear husband, Amos." ROXIE 138 I.2/p. 14 Funny Honey Shift in Band area. ROXIE: "That funny honey of mine." ROXIE 140 I.2/p. 14 Funny Honey Shift in Band Area. ROXIE: "a whole lot greater than the sum of his parts"* ROXIE 142 I.2/p. 14 Funny Honey Gobo Rotator on Piano ROXIE: "I know you'd agree." (four notes) ROXIE 144 I.2/p. 15 Funny Honey Focus on AMOS and FOGARTY on Hex. ROXIE: "That funny, sunny, honey hubby of mine!" ROXIE AMOS/FOGARTY 144 FS I.2/p. 15 Funny Honey Focus on AMOS and FOGARTY on Hex. ROXIE: "That funny, sunny, honey hubby of mine!" ROXIE AMOS/FOGARTY 146 I.2/p. 15 Funny Honey Subtle Focus on ROXIE. AMOS: "Like an angelan angel!" ROXIE AMOS/FOGARTY 148 I.2/p. 15 Funny Honey Back to AMOS. ROXIE: "That funny honey of mine." ROXIE AMOS/FOGARTY

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 150 I.2/p. 15 Funny Honey Shift focus back to ROXIE with AMOS. AMOS: "He sold us our furniture." ROXIE AMOS/FOGARTY 152 I.2/p. 16 Funny Honey Shift on AMOS slowly. AMOS: "Burglar, huh!" ROXIE AMOS 152 FS I.2/p. 16 Funny Honey Iris in to AMOS AMOS: "Burglar, huh!" ROXIE AMOS 154 I.2/p. 16 Funny Honey Shift to end song in Band area. AMOS: "Boy, what a sap I was!" ROXIE AMOS 156 FS I.2/p. 16 Funny Honey SPOT on AMOS tilts down to CASELY's body on stretcher. ROXIE: "That scummy, crummy dummy" ROXIE CASELY'S CORPSE 158 I.2/p. 16 Funny Honey Shift back to reality. On last note. CASELY'S CORPSE 158 FS I.2/p. 16 Funny Honey Bump out ROXIE's spot. With CASELY's CORPSE in a tight FOLLOWSPOT. On last note. CASELY'S CORPSE 160 I.2/p. 16 ROXIE on the crossover above. VIS: When ROXIE gets off the piano. CASELY'S CORPSE 162 I.2/p. 17 Tracking ROXIE down the stairs to AMOS. VIS: ROXIE descends to AMOS. CASELY'S CORPSE 164 I.2/p. 17 Shift. Then slow AUTOFOLLOW into look before Cell Block. ROXIE: "Son-of-a-bitch." ROXIE 164 FS I.2/p. 17 SPOT tilts up from CASELY'S CORPSE to ROXIE. ROXIE: "Son-of-a-bitch." ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 166 FS I.3/p. 17 Cell Block Tango Focus on MASTER OF CEREMONIES ROXIE: "Hail Mary full of grace" MASTER OF CEREMONIES 168 I.3/p. 17 Cell Block Tango Mover shift and gobos to template stage prior to bumps. MASTER OF CEREMONIES: "In their rendition of the Cell Block Tango." 168 FS I.3/p. 17 Cell Block Tango Focus out on the MASTER OF CEREMONIES. MASTER OF CEREMONIES: "In their rendition of the Cell Block Tango." 170 I.3/p. 17 Cell Block Bump on light on LIZ. LIZ: "Pop." 172 I.3/p. 17 Cell Block Tango Bump on light on HONEY. HONEY: "Six." 174 I.3/p. 17 Cell Block Bump on light on JUNE. JUNE: "Squish." 176 I.3/p. 17 Cell Block Tango Bump on light on HUNYAK. HUNYAK: "Uh uh." 178 I.3/p. 17 Cell Block Tango Bump on light on VELMA. VELMA: "Cicero." 180 I.3/p. 18 Cell Block Tango Bump on light on MONA. MONA: "Lipschitz!" 182 I.3/p. 18 Cell Block Build. LIZ: "Pop." 184 I.3/p. 18 Cell Block Build Side light look. Three tango notes. 186 I.3/p. 19 Cell Block Tango Bump. Note before ALL: "He had it coming." 188 I.3/p. 19 Cell Block Tango Bump. Focus on VELMA. CHORUS: "If you'd a seen it." 189 I.3/p. 19 Cell Block Tango Shift. VELMA: "I betcha, you would have done the same!"

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 190 I.3/p. 19 Cell Block Shift MONA: "Lipschitz!" LIZ LIZ 190 FS I.3/p. 19 Cell Block Tango Focus on LIZ. MONA: "Lipschitz!" LIZ LIZ 192 I.3/p. 19 Cell Block Tango Shift and Movers focus on red cloth for blood. LIZ: "You pop that gum one more time" LIZ LIZ 194 I.3/p. 19 Cell Block Tango Bump back to Chorus. Note before ALL: "He had it coming." 194 FS I.3/p. 19 Cell Block Tango Bump back to Chorus. Note before ALL: "He had it coming." 196 I.3/p. 20 Cell Block Tango Focus on ANNIE ALL: "I betcha, you would have done the same!" ANNIE ANNIE 196 FS I.3/p. 20 Cell Block Tango Focus on ANNIE ALL: "I betcha, you would have done the same!" ANNIE ANNIE 198 I.3/p. 20 Cell Block Tango Shift and Movers focus on red cloth for blood. ANNIE: "I mixed him his drink, as usual." ANNIE ANNIE 200 I.3/p. 20 Cell Block Tango Shift back to Chorus. Note before ALL: "He had it coming." 200 FS I.3/p. 20 Cell Block Tango Shift back to Chorus. Note before ALL: "He had it coming." 202 I.3/p. 20 Cell Block Tango Shift. ALL: "It was a murder, but not a crime." 204 I.3/p. 20 Cell Block Focus on JUNE. ALL: "Cicero. Lipschitz." JUNE JUNE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 204 FS I.3/p. 20 Cell Block Tango Focus on JUNE. ALL: "Cicero. Lipschitz." JUNE JUNE 206 I.3/p. 21 Cell Block Tango Shift and Movers focus on red cloth for blood. JUNE: "He kept on screamin'" JUNE JUNE 208 I.3/p. 21 Cell Block Tango Shift back to Chorus. Note before: ALL: "If you'd have been there..." 208 FS I.3/p. 21 Cell Block Tango Shift back to Chorus. Note before: ALL: "If you'd have been there..." 210 I.3/p. 21 Cell Block Tango Focus on HUNYAK. ALL: "I betcha, you would have done the same!" HUNYAK 210 FS I.3/p. 21 Cell Block Tango Focus on HUNYAK. ALL: "I betcha, you would have done the same!" HUNYAK 212 FS I.3/p. 21 Cell Block Tango Pop JUNE for set up. HUNYAK: "de nem ertettek meg" HUNYAK JUNE 213 FS I.3/p. 21 Cell Block Tango Pop out JUNE JUNE: "Yeah, but did you do it?" HUNYAK 214 I.3/p. 21 Cell Block Tango Focus on VELMA Note after, HUNYAK: "UH UH, not guilty!" VELMA 214 FS I.3/p. 21 Cell Block Tango Focus on VELMA Note after, HUNYAK: "UH UH, not guilty!" VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 216 I.3/p. 22 Cell Block Tango Focus on dancer bit behind VELMA of #17. On rim shot. VELMA 218 FS I.3/p. 22 Cell Block Tango Pop VELMA and bump. VELMA: "I even knew they were dead." VELMA VELMA 220 I.3/p. 22 Cell Block Tango Build/Shift into next chorus segment. VELMA: "How could you tell me that I was wrong?" 220 FS I.3/p. 22 Cell Block Tango Build/Shift into next chorus segment. VELMA: "How could you tell me that I was wrong?" 222 I.3/p. 22 Cell Block Tango Focus on MONA. VELMA: "How could you tell me that I was wrong?" MONA MONA 222 FS I.3/p. 22 Cell Block Tango Focus on MONA. VELMA: "How could you tell me that I was wrong?" MONA MONA 224 I.3/p. 22 Cell Block Tango Shift. MONA: "because of artistic differences." MONA MONA 226 I.3/p. 22 Cell Block Tango Shift. Note after: MONA: "And I saw him as dead." 226 FS I.3/p. 22 Cell Block Tango Shift. Note after: MONA: "And I saw him as dead." 228 I.3/p. 23 Cell Block Tango Shift. End of ALL: "The dirty bum bum bum. "* 229 I.3/p. 23 Cell Block Shift. Tow drum beats. 230 I.3/p. 23 Cell Block Tango Followspots pick off LIZ. In pan? ALL: "I betcha, you would have done the same!" LIZ ANNIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 230 FS I.3/p. 23 Cell Block Tango Followspots pick off LIZ. In pan? ALL: "I betcha, you would have done the same!" LIZ ANNIE 232 FS I.3/p. 23 Cell Block Tango Followspots pick off ANNIE. In pan? LIZ: "You pop that gum one more time" ANNIE JUNE 234 FS I.3/p. 23 Cell Block Tango Followspots pick off JUNE. In pan? ANNIE: "Single, my ass." JUNE HUNYAK 236 FS I.3/p. 23 Cell Block Tango Followspots pick off HUNYAK. In pan? JUNE: "Ten times!" HUNYAK VELMA 238 FS I.3/p. 23 Cell Block Tango Followspots pick off VELMA. In pan? HUNYAK: "Uncle Sam bortonbe." VELMA MONA 240 FS I.3/p. 23 Cell Block Tango Followspots pick off MONA. In pan? VELMA: "the spread eagle." MONA MONA 242 I.3/p. 23 Cell Block Tango Shift. Note after: MONA: "Artistic differences." 242 I.3/p. 23 Cell Block Tango Followspots out. Note after: MONA: "Artistic differences." 244 I.3/p. 23 Cell Block Backlight bump. Last note. 246 I.4/p. 24 When You're Good To Mama Focus on MASTER OF CEREMONIES VIS: When actors are in place. MASTER OF CEREMONIES

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 246 FS I.4/p. 24 When You're Good To Mama Focus on MASTER OF CEREMONIES VIS: When actors are in place. MASTER OF CEREMONIES 247 FS I.4/p. 24 When You're Good To Mama Out on MASTER OF CEREMONIES. MASTER OF CEREMONIES: "Matron Mama Morton." 248 I.4/p. 24 When You're Good To Mama Shift on hex turn. VIS: When hex turns with MATRON. 250 I.4/p. 24 When You're Good To Mama Focus on MATRON. On piano notes segueing to first lyrics. MATRON MATRON 250 FS I.4/p. 24 When You're Good To Mama Focus on MATRON. On piano notes segueing to first lyrics. MATRON MATRON 252 I.4/p. 24 When You're Good To Mama Shift. On note bump following, MATRON: "The system called reciprocity." MATRON MATRON 254 I.4/p. 24 When You're Good To Mama Shift. MATRON: "She'll do one for you." MATRON MATRON 256 I.4/p. 25 When You're Good To Mama Focus on Hex for book scene in jail. MATRON: "Mama's good to you!" MATRON MATRON 256 FS I.4/p. 25 When You're Good To Mama Spots out on MATRON. MATRON: "Mama's good to you!" 258 I.4/p. 26 When You're Good To Mama Shift back to song. Pickup of song after: VELMA: "You must get a lot of wrong numbers, Mama." MATRON MATRON

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 258 FS I.4/p. 26 When You're Good To Mama Shift back to song. Pickup of song after: VELMA: "You must get a lot of wrong numbers, Mama." MATRON MATRON 260 I.4/p. 26 When You're Good To Mama Shift for recit. MATRON: "Mama's strokin' you." MATRON MATRON 262 I.4/p. 26 When You're Good To Mama Background build during piano underplay before finish. MATRON: "I can bring this number to?" MATRON MATRON 264 I.4/p. 26 When You're Good To Mama Shift and Build. MATRON: "When you're good to Mama" MATRON MATRON 266 I.4/p. 26 When You're Good To Mama Bump. Last note. 266 FS I.4/p. 26 When You're Good To Mama Bump. Last note. 268 I.5/p. 26 Shift to Jail book scene on Hex. VIS: When actors are in place. 270 I.5/p. 28 Shift and build on punchline. VELMA: "Well, as they say in Southamptonyou are shit out of luck my dear." 272 I.5/p. 29 Shift and build on punchline. HUNYAK: "Not guilty." 274 I.5/p. 30 Solo out ROXIE. MATRON: "You bet we will." 276 I.6/p. 30 Shift. Focus on MASTER OF CEREMONIES. VIS: When actors are in place. MASTER OF CEREMONIES

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 276 FS I.6/p. 30 Shift. Focus on MASTER OF CEREMONIES. VIS: When actors are in place. MASTER OF CEREMONIES 278 I.6/p. 30 Followspots pick off DANCERS. MASTER OF CEREMONIES: "a tap dance." TAP DANCE 278 FS I.6/p. 30 Followspots pick off DANCERS. MASTER OF CEREMONIES: "a tap dance." TAP DANCE 280 I.6/p. 30 Focus on AMOS and ROXIE. Autofollow a Beat from last cue. AMOS/ROXIE TAP DANCE 280 FS I.6/p. 30 Focus on AMOS and ROXIE. A Beat from last cue. AMOS/ROXIE TAP DANCE 282 FS I.6/p. 31 FOLLOWSPOT goes to Pinspot on ROXIE. AMOS: "I'll get it for you, Roxie. I'll get it." ROXIE 284 I.7/p. 31 All I Care About Focus on MASTER OF CEREMONIES VIS: When actors are in place. MASTER OF CEREMONIES 284 FS I.7/p. 31 All I Care About Focus on MASTER OF CEREMONIES VIS: When actors are in place. MASTER OF CEREMONIES 286 I.7/p. 31 All I Care About Focus on Female Chorus MASTER OF CEREMONIES: "Mr. Billy Flynn." 286 FS I.7/p. 31 All I Care About Out on MASTER OF CEREMONIES. MASTER OF CEREMONIES: "Mr. Billy Flynn."

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 288 I.7/p. 31 All I Care About Backlight BILLY and BALLYHOO Movers. Two notes after: CHORUS: "And ooh what luck." 290 FS I.7/p. 31 All I Care About Followspot on BILLY Drum roll. BILLY BILLY 292 I.7/p. 31 All I Care About Shift. Note into song after: BILLY: "Is everybody ready?" BILLY BILLY 294 I.7/p. 32 All I Care About Focus on Fans/Feathers on Dancers in pink. BILLY: "All I care about it is love." BILLY BILLY 296 I.7/p. 32 All I Care About Shift. GIRLS: "All he cares about is love." BILLY BILLY 298 I.7/p. 32 All I Care About Focus on BILLY for recit. GIRLS: "All he cares about is love." BILLY BILLY 300 I.7/p. 32 All I Care About Beat prior to punchline BILLY: Those kinds of love are what I'm talkin' about." BILLY BILLY 302 I.7/p. 32 All I Care About Shift. BILLY: "And physical love ain't so bad either." BILLY BILLY 304 FS I.7/p. 32 All I Care About Tighten followspot for pants drop bit. GIRLS: "That's what he's here for." BILLY BILLY 305 FS I.7/p. 32 All I Care About Iris out for BILLY. BILLY: "It may sound odd" BILLY BILLY 306 I.7/p. 33 All I Care About Shift. Notes after leading to BILLY: GIRLS: "All he cares about is love." BILLY BILLY

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 308 I.7/p. 33 All I Care About Bump. BILLY: "Let me see her, running free" BILLY BILLY 310 I.7/p. 33 All I Care About Shift. BILLY: "That's enough for me." BILLY BILLY 312 I.7/p. 33 All I Care About Shift. BILLY: "All I care about is" BILLY BILLY 314 I.7/p. 33 All I Care About Shift. Note after: BILLY: "twistin' the wrist that's turnin' the screw." BILLY BILLY 316 I.7/p. 33 All I Care About Shift. BILLY: "All I care about is" BILLY BILLY 318 FS I.7/p. 33 All I Care About Bump. Last note. 320 I.8/p.33 Focus on hex for book scene in Billy's Office. VIS: When actors are in place. 322 I.8/p.35 Shift to other acting area. BILLY: "I don't figure you got a choice." 324 I.8/p.35 A Little Bit of Good Focus on MARY SUNSHINE BILLY: "and that sob sister from the Evening Star is coming." 326 I.8/p.35 A Little Bit of Good Out on MARY SUNSHINE. SUNSHINE: After Colortura trill. 328 I.8/p.36 A Little Bit of Good Focus on MARY SUNSHINE and BILLY BILLY: "I don't think we'll have any trouble from her." 330 I.8/p.36 A Little Bit of Good Out on MARY SUNSHINE. SUNSHINE: After Colortura trill. 332 I.8/p.36 A Little Bit of Good FOLLOWSPOT on MARY SUNSHINE BILLY: "She'll swallow hook, line, and sinker." MARY SUNSHINE MARY SUNSHINE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 332 FS I.8/p.36 A Little Bit of Good FOLLOWSPOT on MARY SUNSHINE BILLY: "She'll swallow hook, line, and sinker." MARY SUNSHINE MARY SUNSHINE 334 I.8/p.36 A Little Bit of Good Out on BILLY and ROXIE. BILLY: "Her name is Mary Sunshine." MARY SUNSHINE MARY SUNSHINE 336 I.8/p.36 A Little Bit of Good Shift. Note chiming on: MARY SUNSHINE: "You're so much better off if you be"* "...lieve." MARY SUNSHINE MARY SUNSHINE 338 I.8/p.36 A Little Bit of Good Shift. MARY SUNSHINE: "So try to find that little bit of good!" MARY SUNSHINE MARY SUNSHINE 340 I.8/p.37 A Little Bit of Good Shift. MARY SUNSHINE: "There's someone warm and dear" MARY SUNSHINE MARY SUNSHINE 342 I.8/p.37 A Little Bit of Good Build. MARY SUNSHINE: "Although you meet rats" MARY SUNSHINE MARY SUNSHINE 344 I.8/p.37 A Little Bit of Good Take everything down. MARY SUNSHINE: "So try to find" MARY SUNSHINE MARY SUNSHINE 346 I.8/p.37 A Little Bit of Good Pinspot MARY SUNSHINE. MARY SUNSHINE: "that little bit" MARY SUNSHINE MARY SUNSHINE 348 I.8/p.37 A Little Bit of Good Build. MARY SUNSHINE: "of" MARY SUNSHINE MARY SUNSHINE 350 FS I.8/p.37 Take out followspot. VIS: After MARY SUNSHINE bows. 352 I.8/p.37 Shift back to book scene. VIS: After MARY SUNSHINE bows. 354 I.8/p.37 Pink/Rosy color shift. BILLY: "Oh no? Get this"

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 356 I.8/p.38 Shift back to hex book scene. ROXIE: "God, that's beautiful."* 358 I.8/p.38 We Both Reached For the Gun Focus to ROXIE and BILLY with footlights. BILLY: "Sit down, dummy." BANDLEADER 358 FS I.8/p.38 We Both Reached For the Gun Focus to ROXIE and BILLY with footlights. BILLY: "Sit down, dummy." BANDLEADER 360 I.8/p.38 We Both Reached For the Gun FOLLOWSPOT out and shift with music. Footlights. BANDLEADER: "notice how his mouth never moves -almost." ROXIE/BILLY 360 FS I.8/p.38 We Both Reached For the Gun FOLLOWSPOT out and shift with music. Footlights. BANDLEADER: "notice how his mouth never moves -almost." ROXIE/BILLY 362 FS I.8/p.39 We Both Reached For the Gun Followspot on MARY SUNSHINE. BILLY (ROXIE): "convinced me to elope one day." MARY SUNSHINE ROXIE/BILLY 364 FS I.8/p.39 We Both Reached For the Gun Followpsot out on MARY SUNSHINE. Three notes after: MARY SUNSHINE: "You poor, poor dear." ROXIE/BILLY 366 I.8/p.40 We Both Reached For the Gun Shift. BILLY (ROXIE): "and yet we both reached for the gun." ROXIE/BILLY 368 I.8/p.40 We Both Reached For the Gun Shift. Note after: BILLY & REPORTERS: "Oh yes, they both reached for the gun, for the gun." BILLY ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 368 FS I.8/p.40 We Both Reached For the Gun Shift. Note after: BILLY & REPORTERS: "Oh yes, they both reached for the gun, for the gun." BILLY ROXIE 370 I.8/p.40 We Both Reached For the Gun Shift. Three notes after: BILLY: "It's so defensible!" BILLY/ROXIE 370 FS I.8/p.40 We Both Reached For the Gun Iris out to include BILLY Three notes after: BILLY: "It's so defensible!" BILLY/ROXIE 372 I.8/p.42 We Both Reached For the Gun Shift. Side angle light on ROXIE. BILLY (ROXIE): "when we both reached for the gun!" MARY SUNSHINE BILLY/ROXIE 372 FS I.8/p.42 We Both Reached For the Gun Shift. BILLY (ROXIE): "when we both reached for the gun!" MARY SUNSHINE BILLY 374 I.8/p.42 We Both Reached For the Gun Shift. Note after: BILLY/MARY SUNSHINE: "It's so defensible!" BILLY 374 FS I.8/p.42 We Both Reached For the Gun Shift. Note after: BILLY/MARY SUNSHINE: "It's so defensible!" BILLY 376 I.8/p.42 We Both Reached For the Gun Chase Sequence slow. BILLY: "A little louder!" BILLY 378 I.8/p.42 We Both Reached For the Gun Chase Sequence fast. BILLY: "Now you got it!" BALLYHOO BALLYHOO

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 378 FS I.8/p.42 We Both Reached For the Gun Chase Sequence fast. BILLY: "Now you got it!" BALLYHOO BALLYHOO 380 I.8/p.43 We Both Reached For the Gun Shift. Focus to BILLY. Followspots to BILLY. Last series of: BILLY & REPORTERS: "The gun, the gun, the gun, the gun" BILLY BILLY 380 FS I.8/p.43 We Both Reached For the Gun Shift. Focus to BILLY. Followspots to BILLY. Last series of: BILLY & REPORTERS: "The gun, the gun, the gun, the gun" BILLY BILLY 382 FS I.8/p.43 We Both Reached For the Gun Tighten both FOLLOWSPOTS to pinspot on BILLY over the course of the note. BILLY: "The" BILLY BILLY 384 I.8/p.43 We Both Reached For the Gun Shift. Followspots Iris all the way out End of sustained note: BILLY: "The" BILLY/ROXIE BILLY/ROXIE 384 FS I.8/p.43 We Both Reached For the Gun Shift. Followspots Iris all the way out End of sustained note: BILLY: "The" BILLY/ROXIE BILLY/ROXIE 386 I.8/p.43 We Both Reached For the Gun Bump Last note. 387 FS I.8/p.43 We Both Reached For the Gun Bump Last note.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 388 I/9/p .43 Reporters Intro Fade up look while bumping on FIRST REPORTER VIS: When actors are in place. FIRST REPORTER 388 FS I/9/p .43 Reporters Intro Fade up look while bumping on FIRST REPORTER VIS: When actors are in place. FIRST REPORTER 390 FS I/9/p .43 Reporters Intro Bump on SECOND REPORTER FIRST REPORTER: "STOP THE PRESSES!" SECOND REPORTER 392 FS I/9/p .43 Reporters Intro Bump on THIRD REPORTER SECOND REPORTER: "CONVENT GIRL HELD!" THIRD REPORTER 394 FS I/9/p .43 Reporters Intro Bump on FOURTH REPORTER THIRD REPORTER: "WE BOTH REACHED FOR THE GUN, SAYS ROXIE!" FOURTH REPORTER 396 FS I/9/p .43 Reporters Intro Bump on FIFTH REPORTER FOURTH REPORTER: "DANCING FEET LEAD TO SORROW, SAYS BEAUTIFUL JAZZ SLAYER!" FIFTH REPORTER 398 FS I/9/p .43 Reporters Intro Bump on SIXTH REPORTER FIFTH REPORTER: "ROXIE SOBS. I'D GIVE ANYTHING TO BRING HIM BACK." SIXTH REPORTER 400 FS I/9/p .43 Reporters Intro Out on SIXTH REPORTER. Shift to focus on ROXIE. SIXTH REPORTER: "Ya got that, Charlie? Right." 402 I/9/p .44 Roxie Shift for vamp MUSIC: With the beginning of the vamp.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 404 I/9/p .44 Roxie Shift. ROXIE: "I got me a world full of "Yes." ROXIE ROXIE 404 FS I/9/p .44 Roxie Shift. ROXIE: "I got me a world full of "Yes." ROXIE ROXIE 406 I/9/p .45 Roxie Shift. Music segue after: ROXIE: "I'll get a whole bunch of boys." ROXIE ROXIE 408 I/9/p .45 Roxie Shift autofollowed after a bump for "ROXIE" ROXIE: "dumb mechanic's wife I'm gonna be (sing it)" ROXIE ROXIE 410 I/9/p .46 Roxie Shift. ROXIE: "Foxy Roxie Hart." ROXIE ROXIE 412 I/9/p .46 Roxie Shift. CHORUS: "They're gonna wait outside" ROXIE ROXIE 414 I/9/p .46 Roxie ROXIE sign up. Beat. Shift. ROXIE: "I'm a star!" ROXIE ROXIE 416 I/9/p .46 Roxie Shift. BOYS: "She's giving up her humdrum life" ROXIE ROXIE 418 I/9/p .46 Roxie Bump Sign Red Mover Back. Beat. Shift. ROXIE: "I'm gonna be" ROXIE ROXIE 420 I/9/p .47 Roxie Shift. BOYS: "She made a scandal and a start" ROXIE ROXIE 422 I/9/p .47 Roxie Shift. ROXIE: "Foxy Roxie Hart." ROXIE ROXIE 424 I/9/p .47 Roxie Shift. Music shifts ROXIE ROXIE 426 I/9/p .47 Roxie Bump Last note. 426 FS I/9/p .47 Roxie Bump Last note.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 428 I/10/p .47 Transition look. Starting with MUSIC under ANNOUNCER 430 I/10/p .47 Fade up on MATRON Jail Light fast with gentle fade up of surround growing brighter on facelight during VELMA's dialog. VIS: When actors are in place. 432 I/10/p .48 Shift to isolate VELMA. MATRON: "Well, that's what I call using the old Kanoodle." 434 I/11/p. 48 I Can't Do It Alone Focus on the BANDLEADER. With Start of Music. BANDLEADER 434 FS I/11/p. 48 I Can't Do It Alone Focus on the BANDLEADER. With Start of Music. BANDLEADER 436 I/11/p. 48 I Can't Do It Alone Focus on VELMA and ROXIE On Chime. 436 FS I/11/p. 48 I Can't Do It Alone Focus on VELMA and ROXIE On Chime. 438 I/11/p. 48 I Can't Do It Alone Shift. Focus on VELMA On Downbeat VELMA VELMA 438 FS I/11/p. 48 I Can't Do It Alone Shift. Focus on VELMA On Downbeat VELMA VELMA 440 I/11/p. 49 I Can't Do It Alone Focus on "VERNA" VELMA: "Then she'd" VELMA VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 442 I/11/p. 49 I Can't Do It Alone Focus on VELMA. VELMA: *"Then we'd" VELMA VELMA 444 I/11/p. 49 I Can't Do It Alone Bump. VELMA: *"But I can't do it alone." VELMA VELMA 446 I/11/p. 49 I Can't Do It Alone Focus on "VERNA" and VELMA as separate. VELMA: "Then she'd" VELMA VELMA 448 I/11/p. 49 I Can't Do It Alone Shift. On First Egyptian Music VELMA VELMA 450 I/11/p. 49 I Can't Do It Alone Shift. VELMA: "And then those" VELMA VELMA 452 I/11/p. 49 I Can't Do It Alone Shift. VELMA: "And we'd say" VELMA VELMA 454 I/11/p. 49 I Can't Do It Alone Band Focus on drum beats. A beat before drum beats. VELMA VELMA 456 I/11/p. 49 I Can't Do It Alone Focus on VELMA's Dance After drum beats. VELMA VELMA 458 I/11/p. 49 I Can't Do It Alone Isolate VELMA Music before VELMA: "But I simply cannot do it alone." VELMA VELMA 460 I/11/p. 49 I Can't Do It Alone Back to the Jail with ROXIE. Before vamp. 460 FS I/11/p. 49 I Can't Do It Alone Back to the Jail with ROXIE. Before vamp. 462 I/11/p. 49 I Can't Do It Alone Back to the act. VELMA: *"Then she'd" VELMA VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 462 FS I/11/p. 49 I Can't Do It Alone Back to the act. VELMA: *"Then she'd" VELMA VELMA 464 I/11/p. 49 I Can't Do It Alone Shift. VELMA: "Then we'd" VELMA VELMA 468 I/11/p. 50 I Can't Do It Alone Bump. VELMA: "She'd say" VELMA VELMA 470 I/11/p. 50 I Can't Do It Alone Bump. VELMA: "She'd say" VELMA VELMA 472 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "(Wild break.)" VELMA VELMA 473 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "When she'd go" VELMA VELMA 476 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "We'd go" VELMA VELMA 478 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "And then those" VELMA VELMA 480 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "And we'd say" VELMA VELMA 482 I/11/p. 50 I Can't Do It Alone Shift. After drum beats. VELMA VELMA 484 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "Now you" VELMA VELMA 486 I/11/p. 50 I Can't Do It Alone Shift. VELMA: "I simply cannot do it" VELMA VELMA 488 I/11/p. 50 I Can't Do It Alone Bump. Last note.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 488 FS I/11/p. 50 I Can't Do It Alone Bump. Last note. 490 I/11/p. 50 Shift back to jail. ROXIE: "Boy, they sure got lousy floor shows in jail now-a-days" 492 I/11/p. 50 Focus on VELMA ROXIE: "Nothin' personal, you understand. Nothin' personal." 494 FS I/11/p. 51 I Can't Do It Alone (Reprise) Followspot on VELMA On Piano leadup. VELMA VELMA 496 I/11/p. 51 I Can't Do It Alone (Reprise) Shift to fade out. VELMA: "Her brand new hubby no where in sight" VELMA VELMA 498 I/11/p. 51 I Can't Do It Alone (Reprise) Fade out on VELMA VELMA: "Alone." 498 FS I/11/p. 51 I Can't Do It Alone (Reprise) Fade out on VELMA VELMA: "Alone." 500 I/11/p. 51 Focus on BANDLEADER. VIS: When actors are in place. BANDLEADER 500 FS I/11/p. 51 Focus on BANDLEADER. VIS: When actors are in place. BANDLEADER 502 I/11/p. 51 Shift to interlude. BANDLEADER: "'Chicago After Midnight.'"

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 502 FS I/11/p. 51 Shift to interlude. BANDLEADER: "'Chicago After Midnight.'" 504 I/12/p. 51 Focus on MATRON. VIS: When actors are in place. MATRON 504 FS I/12/p. 51 Focus on MATRON. VIS: When actors are in place. MATRON 506 FS I/12/p. 51 Focus on KITTY MATRON: "There's this Kitty" KITTY (TIGHT HEADSHOT) MATRON 508 I/12/p. 51 Hex spins? Focus on Hex. MATRON: "You know, a real mattress dancer." KITTY (TIGHT HEADSHOT) MATRON 510 I/12/p. 52 More light on Hex and focus. MATRON: "she notices something rather odd." KITTY (TIGHT HEADSHOT) MATRON 512 I/12/p. 52 Strobe flashes for gunshots KITTY: "What I see!" 512 FS I/12/p. 52 Strobe flashes for gunshots KITTY: "What I see!" 514 I/12/p. 52 Focus on BANDLEADER BANDLEADER: "Goodnight, folks. BANDLEADER 514 FS I/12/p. 52 Focus on BANDLEADER BANDLEADER: "Goodnight, folks. BANDLEADER 516 I/13/p. 52 Transition look TBD. When music goes out.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 516 FS I/13/p. 52 Transition look TBD. When music goes out. 518 I/13/p. 52 Shift. VIS: Entrance of BILLY and GOTO-HELL KITTY. 520 I/13/p. 53 Focus on ROXIE. BILLY: "All right, gentlemen. All right." 522 I/13/p. 53 My Own Best Friend Focus on VELMA. ROXIE: "I got a feeling you're in trouble, Roxie." 524 I/13/p. 53 My Own Best Friend Focus on BANDLEADER. VELMA: "There's only one person who you can count on now, Velma." BANDLEADER 524 FS I/13/p. 53 My Own Best Friend Focus on BANDLEADER. VELMA: "There's only one person who you can count on now, Velma." BANDLEADER 526 I/13/p. 53 My Own Best Friend Folowspot out. Shift. BANDLEADER: "Unrelenting determination and unmitigated ego." 526 FS I/13/p. 53 My Own Best Friend Folowspot out. Shift. BANDLEADER: "Unrelenting determination and unmitigated ego." 528 I/13/p. 53 My Own Best Friend Followspot ROXIE and VELMA A Beat before ROXIE: "One thing I know." VELMA ROXIE 528 FS I/13/p. 53 My Own Best Friend Followspot ROXIE and VELMA A Beat before ROXIE: "One thing I know." VELMA ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 530 I/13/p. 55 My Own Best Friend Shift for chorus. BOTH: "From here to the end is I am my own best friend." VELMA ROXIE 532 I/13/p. 56 My Own Best Friend Shift for confetti schtick. VELMA: "And I." VELMA ROXIE 534 I/13/p. 56 My Own Best Friend Build. BOTH: "And I am my own best friend." VELMA ROXIE 536 I/13/p. 56 VELMA and ROXIE spot out. Shift. VIS: On faint. 536 FS I/13/p. 56 VELMA and ROXIE spot out. Shift. VIS: On faint. 538 I/13/p. 56 Build with strobes for flash bulbs BILLY: "Somebody pick that girl up." 540 I/13/p. 57 Backlight brightening. ALL: "Jazz!" 542 I/13/p. 57 Blackout. Last note.

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 544 I/13/p. 57 Fade up for intermission VIS: When actors are offstage. 546 II/1/p. 57 I Know a Girl House to Half. Start of Vamp. 548 II/1/p. 58 I Know a Girl Followspot on VELMA VIS: VELMA enters. VELMA 550 II/1/p. 58 I Know a Girl House out. VELMA: "Now, why didn't I think of that?" VELMA 552 II/1/p. 58 I Know a Girl Focus on BILLY on side of stage. VELMA: "I mean, can you believe it." VELMA 554 II/1/p. 58 I Know a Girl Focus on second reporter. VELMA: "How she does it, Heaven knows." VELMA SECOND REPORTER 556 II/1/p. 59 I Know a Girl Followspot out on SECOND Reporter. Shift SECOND REPORTER: "Charlie, she is!" VELMA 558 II/1/p. 59 I Know a Girl Followspot.Shift up on BILLY/DOCTOR. Shift. VELMA: "How she does it, couldn't say." VELMA BILLY/DOCTOR 560 II/1/p. 59 I Know a Girl Followspot out on BILLY/DOCTOR. Shift. BILLY: "Button your fly." VELMA 562 II/1/p. 59 I Know a Girl Shift. VELMA: "deader than a duck." VELMA ROXIE 564 II/1/p. 59 I Know a Girl FOLLOWSPOT on ROXIE. VELMA: "And nobody smells a rat." 566 II/1/p. 59 I Know a Girl Shift. VELMA: "The two of us?" VELMA ROXIE 568 II/1/p. 60 I Know a Girl Shift. VELMA: "I mean, do you believe it?" VELMA ROXIE 570 II/1/p. 60 Me and My Baby Followpost out on VELMA. Shift. VELMA: "My sweet little baby." ROXIE 572 II/1/p. 60 Me and My Baby Shift on band. ROXIE: "Look at my baby and me" ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 574 II/1/p. 60 Me and My Baby Shift. Notes before ROXIE: "Me and my baby." ROXIE 576 II/1/p. 61 Me and My Baby Focus on MARY SUNSHINE. Shift. ROXIE: "Look at my baby and me." MARY SUNSHINE ROXIE 578 II/1/p. 61 Me and My Baby FOLLOWPOT track to BILLY MARY SUNSHINE: "To have her baby born in a jail!" BILLY ROXIE 580 II/1/p. 61 Me and My Baby FOLLOWPOT track to AMOS BILLY: "And you can quote me on that." AMOS ROXIE 582 II/1/p. 61 Me and My Baby Follwspot out on AMOS. Shift. CHORUS: "Yuk, Yuk, Yuk." ROXIE 584 II/1/p. 61 Me and My Baby Shift. ROXIE: "It's more than I can keep inside." ROXIE 586 II/1/p. 62 Me and My Baby FOLLOWSPOT ON MATRON. Shift. Notes leading up to MATRON: "I think it's sweet." MATRON ROXIE 588 II/1/p. 62 Me and My Baby Followspot on BILLY. MATRON: "had one of our girls knocked up." BILLY ROXIE 590 II/1/p. 62 Me and My Baby FOLLOWSPOT on AMOS. AMOS: "That's my kid! That's my kid!" AMOS ROXIE 592 II/1/p. 62 Me and My Baby Shift. ROXIE and BOYS: "and full of stuff so incidently so am I." ROXIE 594 II/1/p. 62 Me and My Baby AUTO FOLLOW SEQUENCE BUMPS" BOYS: (1st) "Mama!" ROXIE 596 II/1/p. 62 Me and My Baby AUTO FOLLOW SEQUENCE BUMPS" BOYS: (2nd) "Mama!" ROXIE 598 II/1/p. 62 Me and My Baby AUTO FOLLOW SEQUENCE BUMPS" BOYS: (3rd) "Mama!" ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 600 II/1/p. 62 Me and My Baby AUTO FOLLOW SEQUENCE BUMPS" BOYS: (4th) "Mama!" ROXIE 602 II/1/p. 62 Me and My Baby AUTO FOLLOW SEQUENCE BUMPS" BOYS: (5th) "Mama!" ROXIE 604 II/1/p. 62 Me and My Shift back BOYS: (6th) "Mama!" ROXIE 606 II/1/p. 62 Me and My Shift. BOYS: "My sweet little baby" ROXIE 608 II/1/p. 63 Me and My Shift. BOYS: "My bald little baby." ROXIE 610 II/1/p. 63 Me and My BUMP on FOLLOWSPOT BOYS: "Look at my baby" ROXIE ROXIE 612 II/1/p. 63 Me and My Bump. Last note. ROXIE ROXIE 614 II/1/p. 63 Mr. Cellophane Fade out on all but AMOS VIS: As ROXIE and crowd leave. 616 II/1/p. 63 Mr. Cellophane Shift into song. Beat. Slow fade up of rivets. AMOS: "They'd moved." 618 II/1/p. 64 Mr. Cellophane Slow continued build of surround. Three notes after: AMOS: "You'd notice him." 620 II/1/p. 64 Mr. Cellophane Footlights warm him up. Strong Side. AMOS: "Inconsequential." 622 II/1/p. 64 Mr. Cellophane Warming up surround. AMOS: "I tell ya" 624 II/1/p. 64 Mr. Cellophane Billy's Office Glisando* 626 II/1/p. 65 Mr. Cellophane Shift. AMOS: "I'll divorce her!" 628 II/1/p. 65 Mr. Cellophane Black out stage, but AMOS. AMOS: "She probably wouldn't notice." 630 II/1/p. 65 Mr. Cellophane Shift. Slow build. AMOS: "You'd notice him." 632 II/1/p. 66 Mr. Cellophane Bump tilt movers onto AMOS. AMOS: "Unimpressive." 634 II/1/p. 66 Mr. Cellophane Bump tilt movers onto AMOS. AMOS: "Undistinguished"

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 636 II/1/p. 66 Mr. Cellophane Footlight build. Mid. AMOS: "who" 638 II/1/p. 66 Mr. Cellophane Sidelight build. Footlight turns on into the path of AMOS. Saturated color. Piano rag. 640 II/1/p. 66 Mr. Cellophane Other Followspot clicks on him. Shift. Slow fading chase of rivets. AMOS: "I tell ya" 642 II/1/p. 66 Mr. Cellophane All to black except for followspots, Ghost light, and footlight. Orchestra cuts out. 644 II/1/p. 66 Mr. Cellophane Lone Sidelight comes up. Spots out. Notes after: "I'm there." 646 II/1/p. 66 Mr. Cellophane Bump out face light. AMOS: "Hope I didn't take up too much of your time." 648 II/3/p. 66 Shift light for hex to turn and reveal the card game. After applause. 650 II/3/p. 67 Shift. MATRON: "The same place you got your four aces." 652 II/3/p. 68 When Velma Takes the Stand Band Focus. VELMA: "Hit it." 654 II/3/p. 68 When Velma Takes the Stand Shift. Beat before: VELMA: "Well," VELMA VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 656 II/3/p. 68 When Velma Takes the Stand Bump Look of Quarette (Sub Stack?) FOLLOWSPOT move. VELMA: "my legs, like this, you know?" QUARETTE QUARETTE 658 II/3/p. 69 When Velma Takes the Stand Focus back to VELMA On cowbell VELMA VELMA 660 II/3/p. 69 When Velma Takes the Stand Bump Look of Quarette (Sub Stack?) FOLLOWSPOT move. VELMA: "my legs, like this, you know?" QUARETTE QUARETTE 662 II/3/p. 69 When Velma Takes the Stand Shift. On cowbell QUARETTE QUARETTE 664 II/3/p. 69 When Velma Takes the Stand Shift back to VELMA. QUARETTE: "She's got them eating out of the palm of her hand." VELMA VELMA 666 II/3/p. 69 When Velma Takes the Stand Bump Look of Quarette (Sub Stack?) FOLLOWSPOT move. VELMA: "my legs, like this, you know?" QUARETTE QUARETTE 668 II/3/p. 69 When Velma Takes the Stand Shift. On cowbell QUARETTE QUARETTE 670 II/3/p. 69 When Velma Takes the Stand Shift. Color Wash shifting. Subtle Side Rotators. BALLYHOO. QUARETTE: "Till' she's got 'em gone." BALLYHOO BALLYHOO 672 II/3/p. 69 When Velma Takes the Stand Focus back to VELMA Beats before VELMA: "Then, I'd thought Id cry." VELMA VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 674 II/3/p. 69 When Velma Takes the Stand Expand to focus on movement to BILLY. VELMA: "And I try to walk VELMA VELMA 676 II/3/p. 69 When Velma Takes the Stand Shift to Quarette. On beat after VELMA: "faint." QUARETTE QUARETTE 678 II/3/p. 69 When Velma Takes the Stand Focus on BILLY and VELMA. QUARETTE: "When Velma takes the" BILLY VELMA 680 II/3/p. 70 When Velma Takes the Stand Shift then Iris in. VELMA: "May I have my exit music please?" QUARETTE QUARETTE 682 II/3/p. 70 When Velma Takes the Stand Iris in Followspots. Beats before QUARETTE: "When Velma" VELMA VELMA 684 II/3/p. 70 When Velma Takes the Stand Bump. On last note.* 686 II/3/p. 70 Shift after applause. VIS: ROXIE enters. 688 II/3/p. 71 Isolate. Tight. BILLY: "Who happens to be saivng your ass!" 670 II/3/p. 71 Isolate HUNYAK. ROXIE: "And I want my five grand back, too!" 672 II/4/p. 71 Shift back to ROXIE and BILLY. HUNYAK: "No. No. No."

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 674 II/4/p. 72 Iris out for courthouse look. Amerian Eagle gobo on floor. Single Jail Light center. AUTOFOLLOW 676 II/4/p. 73 Shift for tightrope act. MATRON: "Well, here you go." HUNKYAK 678 II/4/p. 73 Focus on MATRON HUNYAK: "Not guilty Uncle Sam." MATRON HUNKYAK 680 II/4/p. 73 Out on MATRON MATRON: "Hungarian rope trick" HUNYAK 682 II/4/p. 73 Out on Hunyak. FULL BLACKOUT. 684 II/4/p. 73 Pinspots on hands clapping slowly. After cymal crash on drum roll. 686 II/4/p. 73 Fade up on DUMMY. ANNOUNCER: "Afer 47" 688 II/5/p. 73 Keep subtle accent on dummy. Shift to book scene. American Flag on floor. ANNOUNCER: "Not guilty." 690 II/5/p. 75 Focus on BAILIFF ROXIE: "Screw you you Goddamn old crook." 692 II/5/p. 75 Razzle Dazzle Focus on BILLY. ROXIE: "Yeah, I'm ready." 694 II/5/p. 75 Razzle Dazzle Folowspot on BILLY and Slow shift. American Flag in. BILLY: "The biggest!" BILLY BILLY 696 II/5/p. 76 Razzle Dazzle American Flag spins and shift. Before snaps. BILLY BILLY 698 II/5/p. 76 Razzle Dazzle Shift. Before: BILLY: "Give 'em" BILLY BILLY

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 700 II/5/p. 76 Razzle Dazzle Focus on Arieal Dancers and Hunyak with dichroic in mover. VIS: Lowering in Areial Dancers. BILLY BILLY 702 II/5/p. 76 Razzle Dazzle Shift. Out on HUNYAK. BILLY: "You're just a bagel." BILLY BILLY 704 II/5/p. 76 Razzle Dazzle Mover ticking with clock sound. Clock sound. BILLY BILLY 706 II/5/p. 76 Razzle Dazzle Mover ticking with clock sound. Shift. Clock sound. BILLY BILLY 708 II/5/p. 76 Razzle Dazzle Footlights. Before: CHORUS: "Give 'em." 710 II/5/p. 76 Razzle Dazzle Bright bump then shift with Rotator with beams and the other with American Flag. CHORUS: "everyone loves the big" 712 II/5/p. 76 Razzle Dazzle BUMP. Isolate CHORUS: "They'll let you get" CHORUS & BILLY CHORUS & BILLY 714 II/5/p. 76 Razzle Dazzle Shift. Build. BILLY: "And you've got a romance." BILLY BILLY 716 II/5/p. 77 Razzle Dazzle Shifting colors and Rotator with beams and the other with American Flag. Cyc shifting. Build to CHORUS: "Give 'em"* BILLY BILLY 718 II/5/p. 77 Razzle Dazzle Everything winds down. BILLY: "Show them the first rate sorcerer you are." BILLY BILLY 720 II/5/p. 77 Razzle Dazzle Side light blast CHORUS: "How can they spot" BILLY BILLY

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 722 II/5/p. 77 Razzle Dazzle Sculpt and build to end. BILLY: "You got no talents." BILLY BILLY 724 II/6/p. 77 Razzle Dazzle Bump into courtroom. On last note. 726 II/6/p. 77 Footlights up. After applause 728 II/6/p. 77 Shift. Footlights out. Religious Cross gobo up for BAILIFF. CHORUS: "Thank you." 730 II/6/p. 78 Witness chair focus. AMOS: "I certainly do." 732 II/6/p. 79 Witness chair out. Shift Religious cross gobo up. BILLY: "Step down, Daddy." 734 II/6/p. 79 Witness chair focus. ROXIE: "I do." 736 II/6/p. 79 Shift to FRED. Followspot on FRED and ROXIE ROXIE: "When I permitted him to drive me home one night." FRED ROXIE 738 II/6/p. 79 Focus on CHORUS: FRED: "Why don't I drive you home?" FRED ROXIE 740 II/6/p. 79 Focus off of CHORUS. Diag light on BILLY and AMOS is a window. CHORUS: "CharlestonCharleston." FRED ROXIE 742 II/6/p. 80 FOLLOWSPOT out. VIS: FRED exits. 744 II/6/p. 80 Shift with music. BILLY: "The happenings of the night." ROXIE 746 II/6/p. 80 Shift with ROXIE moving to hex. VIS: ROXIE moves to hex. ROXIE 748 II/6/p. 81 Focus on FRED. BILLY: "And who was there?" FRED ROXIE 750 II/6/p. 81 Shift. ROXIE: "Go away!"* FRED ROXIE

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 752 II/6/p. 81 Shift to focus on CHORUS. ROXIE: "I love my husband." FRED ROXIE 753 II/6/p. 81 Out on Chorus. CHORUS: "Hallelujah!" FRED ROXIE 756 II/6/p. 82 FOLLOWSPOT picks off MAN with DIAGRAM BILLY: "Diagram!" MAN WITH DIAGRAM ROXIE 758 II/6/p. 82 Followspot out. ROXIE: "He was also by the victrolla." ROXIE 760 II/6/p. 82 Pinspot on the gun. ROXIE: "And threw me on the bed" GUN ROXIE 762 II/6/p. 82 Widen out for FRED. VIS: When gun is picked up. FRED ROXIE 764 II/6/p. 82 Bump out on FRED. Shift. COMPANY: "Hey!" ROXIE 766 II/6/p. 83 Button to scene. IRIS out Folliwspot. ROXIE: "husband's innocent unborn child." ROXIE 768 II/6/p. 83 Footlights up. VIS: On bow. 770 II/7/p. 83 Shift to Jail book scene on Hex. Followspot on MARY SUNSHINE. VIS: When VELMA is onstage. MARY SUNSHINE 772 II/7/p. 84 Out on MARY SUNSHINE. MARY SUNSHINE: "With rhinestone buckles" 774 II/7/p. 84 Class Shift into song. VELMA: "They sure ain't." VELMA 776 II/7/p. 84 Class Expand to inclue MATRON. VELMA: "And how charming?" VELMA & MATRON 778 II/7/p. 84 Class Shift. VELMA & MATRON: "Class." VELMA & MATRON 780 II/7/p. 85 Class Shift. VELMA & MATRON: "Nobody's got no class!" VELMA & MATRON 782 II/7/p. 85 Class Shift. VELMA & MATRON: "Class." VELMA & MATRON

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 784 II/7/p. 85 Class Four part from MATRON to VELMA fade backlight. Before MATRON: "And even ids will kick your shins." VELMA & MATRON 786 II/7/p. 85 Class Shift. VELMA & MATRON: "Nobody's got no class!" VELMA & MATRON 788 II/7/p. 85 Class Footlights Before: MATRON: "Everybody you watch." VELMA & MATRON 790 II/7/p. 86 Class Shift to end of song. VELMA & MATRON: "What became of" VELMA & MATRON 792 II/7/p. 86 Class Followspots out. On last note. 794 II/8/p. 86 Shift. After applause. 796 II/8/p. 86 Bump on tight backlight on BILLY. Texture and footlights for Justice and Uncle Sam. With drum roll. MARY SUNSHINE 798 II/8/p. 86 FOLLOWSPOT on BILLY. VIS: BILLY turns to Audience BILLY 800 II/8/p. 86 Expand to focus on ROXIE under flag. BILLY: "We won't deny that." BILLY 802 II/8/p. 86 FOLLOWSPOT Track to ROXIE. VIS: when BILLY goes to her. BILLY & ROXIE 804 II/8/p. 87 FOLLOWSPOT track to MARY SUNSHINE. VIS: When BILLY goes to MARY SUNSHINE. BILLY & MARY SUNSHINE 806 II/8/p. 87 Bump. Backlight, BILLY: "The defense rests." 808 II/8/p. 87 Shift. On appluase and/or AUTOFOLLOW

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 810 II/8/p. 87 Bring up facelight VIS: When actors are in place. 812 II/9/p. 87 Focus on REPORTER With gunshot SFX. 814 II/9/p. 87 Shift to empty courtroom look. REPORTER: "But what a story!" 816 II/9/p. 88 All He Cares About Look. BILLY: "My exit music, please."* BILLY 818 II/9/p. 88 Shift to lonlier courtroom. VIS: BILLY exits. 820 II/9/p. 88 Shift to isolate ROXIE. Followspot in Saturated color on floor to then ROXIE. VIS: After AMOS exits. SATURATED on FLOOR 822 II/9/p. 88 Nowadays Footlights fade up. ROXIE: "It's good"* ROXIE (Saturated) 824 II/9/p. 88 Nowadays Side light comes in. After music. ROXIE: "Fun? Isn't it? Nowadays." ROXIE (Saturated) 826 II/9/p. 89 Nowadays Rivets light up slowly. Music after: ROXIE: "Joy, everywhere.Nowadays." ROXIE (Saturated) 828 II/9/p. 89 Nowadays Followspot on ROXIE. ROXIE: "..with Ike and that's" ROXIE (Saturated) ROXIE (Neutral) 830 II/9/p. 89 Nowadays Followspots out on ROXIE. ROXIE: "Fun, isn't it?" 832 II/9/p. 89 Nowadays Focus on MASTER OF CEREMONIES After music swells 834 II/9/p. 89 Nowadays Lift uplighting MASTER OF CEREMONIES: "an act of this nature."

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 836 II/9/p. 89 Nowadays Snap on FOLLOWPOSTS. Shift slowly building. MASTER OF CEREMONIES: "Roxie Hart and Velma Kelly." ROXIE VELMA 838 II/9/p. 90 Nowadays Shift. ROXIE and VELMA: "It's heaven nowadays." ROXIE VELMA 840 II/9/p. 90 Nowadays Shift. Prior to VELMA & ROXIE: "Waa waa." ROXIE VELMA 842 II/9/p. 90 Nowadays Shift. Prior to VELMA & ROXIE: "And that's good..." ROXIE VELMA 844 II/9/p. 90 Nowadays Bump backlight. Last note of song. 846 II/9/p. 91 RSVP Sidelight Focus on MASTER OF CEREMONIES and Followspot BALLYHOO After applause. BALLYHOO BALLYHOO 848 II/9/p. 91 Hot Honey Rag Bring in Light Curtain Lit. MASTER OF CEREMONIES: "and KEEP IT HOT!"* ROXIE VELMA 850 II/9/p. 91 Hot Honey Rag Side light bump and restore. ROXIE & VELMA: "Haa!" ROXIE VELMA 852 II/9/p. 91 Hot Honey Rag Reverse Side light bump and restore. ROXIE & VELMA: "Yeah!"* ROXIE VELMA 854 II/9/p. 91 Hot Honey Rag Flicker of Light Curtain subroutine. Build. With Music ROXIE VELMA 856 II/9/p. 91 Hot Honey Rag Build. Flash ROXIE and VELMA light. With Music ROXIE VELMA 858 II/9/p. 91 Hot Honey Rag Brighter bump on Light Curtain. ROXIE and VELMA sign. On last note. ROXIE VELMA

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Chicago Lighting Cue Score Q # Act/Scene/ Page # Song Description When to Call: SPOT 1 SPOT 2 860 II/9/p. 91 Finale Shift with footlights included. With SFX of applause or actual applause. ROXIE VELMA 862 II/9/p. 91 Battle Hymn of the Republic Stars and stripes and American flag gobos. ROXIE: "Believe us, we could not have done it without you." (Start of Battle Hymn) ROXIE VELMA 864 II/9/p. 91 All that Jazz Reprise Rotating American Flag on the ground. Rotating Stars on set. VELMA: "what a wonderful country this is!" ROXIE VELMA 866 II/9/p. 91 All that Jazz Reprise Build. Prior to: CHORUS: "Oh, I'm no one's wife" ROXIE VELMA 868 II/9/p. 91 All that Jazz Reprise Slow fade out. CHORUS: "Jazz!" ROXIE VELMA 870 II/9/p. 91 All that Jazz Reprise Footlights bump Beat before: CHORUS: "That jazz." ROXIE VELMA 872 II/9/p. 91 All that Jazz Reprise Bump to black CHORUS: "That jazz." ROXIE VELMA 872 Bows For Bows. Footlights included. VIS: When actors are ready for bows. PAN ACROSS CHORUS. ACTORS BOWING LEFT DOWN THE LINE TO CENTER ROXIE AND VELMA PAN ACROSS CHORUS. ACTORS BOWING RIGHT DOWN THE LINE TO CENTER ROXIE AND VELMA 872 Bows Shift to Postshow look. Silhuoettes of exiting actors. House up. VIS: When all bows are complete

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APPENDIX C FINAL LIGHT CUE SHEET

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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Chicago Final Lighting Cue Sheet Q # WAIT ACT/SCENE SONG MEASURE DESCRIPTION FADE MACRO

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APPENDIX D FOLLOWSPOT CUE SHEET

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 1 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO N/A Default Default VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 2 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 3 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 4 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 5 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 6 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 7 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 8 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 9 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 10 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 11 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO 538 VELMA ROXIE VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 12 of 12 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO 542 End of Act One On Button of Act One Finale. VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 1 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO N/A Default Default VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 2 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 3 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 4 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 5 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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FOLLOWSPOT CUE SHEET 11/11/2011 Page 6 of 6 CUE ACT/SCENE/PAGE DESCRIPTION SPOT ONE SPOT TWO VERSION D

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APPENDIX E DRAFTING

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APPENDIX F DESIGNER PAPERWORK

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INSTRUMENT SCHEDULE ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye TABLE OF CONTENTS ROH LEFT .................................................... 1 Island 30 Spot Booth .................................... 9 ROH RIGHT ................................................. 1 Island 31 ....................................................... 9 FOH L BOXBOOM ....................................... 2 Island 33 ....................................................... 10 FOH R BOXBOOM ....................................... 2 Island 36 ....................................................... 10 FOH L LADER .............................................. 3 Island 37 Spot Booth .................................... 10 FOH R Ladder .............................................. 3 APRON Pipe ................................................ 11 Island 1 ......................................................... 4 SL Side Pipe ................................................. 12 Island 2 ......................................................... 4 SR Side Pipe ................................................ 13 Island 3 ......................................................... 4 1st LX ........................................................... 14 Island 4 ......................................................... 5 2nd LX .......................................................... 16 Island 5 ......................................................... 5 3rd LX ........................................................... 17 Island 6 ......................................................... 5 4th LX ........................................................... 18 Island 7 ......................................................... 6 5th LX ........................................................... 18 Island 8 ......................................................... 6 6th LX ........................................................... 19 ISLAND 10 ................................................... 6 7th LX ........................................................... 20 ISLAND 10-11 Mover Pipe ........................... 6 DSL FLOOR MOUNT ................................... 22 ISLAND 11 .................................................... 6 DSR FLOOR MOUNT .................................. 22 Island 13 ....................................................... 7 SL BOOM ..................................................... 22 Island 14 ....................................................... 7 Deck ............................................................. 23 Island 16 ....................................................... 7 UNDER HEX ................................................ 24 Island 17 ....................................................... 7 Lift ................................................................. 24 Island 18 ....................................................... 7 Footlight Trough ........................................... 25 Island 19 ....................................................... 8 LS 9 JAIL LIGHT BATTON ......................... 26 Island 20 ....................................................... 8 DS FOOTLIGHT TROUGH .......................... 26 Island 21 ....................................................... 8 UNDER PLATFORMING SR ........................ 26 Island 23 ....................................................... 8 UNDER PLATFORMING SL ......................... 26 Island 24 ....................................................... 8 LS 1 .............................................................. 26 Island 24-25 Mover Pipe .............................. 8 LS 18 ............................................................ 27 Island 25 ....................................................... 9 LS 2 .............................................................. 28 Island 26 ....................................................... 9 ON HEXAGON ............................................. 29 Island 26-27 Mover Pipe .............................. 9 SR BOOM .................................................... 29 Island 27 ....................................................... 9 FOH .............................................................. 30

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INSTRUMENT SCHEDULE Page 1 of 30 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye ROH LEFT U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/F SL S4 26 750w L127 CONVENTIONALS/309 (84) 2 TEXTURE WASH S4 26 750w N/C R770 12 CONVENTIONALS/310 (98) 3 F/F STAIRS S4 26 750w L127 CONVENTIONALS/16 (85) 4 F/F CS S4 26 750w L127 CONVENTIONALS/304 (83) 5 F/F STAIRS S4 26 750w L127 CONVENTIONALS/303 (81) 6 F/F SR S4 26 750w L127 CONVENTIONALS/13 (82) ROH RIGHT U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/F SL S4 26 750w L716 CONVENTIONALS/32 (94) 2 F/F STAIRS S4 26 750w L716 CONVENTIONALS/322 (95) 3 F/F CS S4 26 750w L716 CONVENTIONALS/321 (93) 4 F/F STAIRS S4 26 750w L716 CONVENTIONALS/316 (91) 5 TEXTURE WASH S4 26 750w N/C R770 12 CONVENTIONALS/315 (99) 6 F/F SR S4 26 750w L716 CONVENTIONALS/22 (92) University of Florida School of Thetare and Dance / ROH LEFT thru ROH RIGHT

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INSTRUMENT SCHEDULE Page 2 of 30 ChicagoNov14 11/14/11 Chicago FOH L BOXBOOM U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 B/B A S4 26 575w G842+ R119 CONVENTIONALS/15 (45) 2 B/B A S4 26 575w G842+ R119 CONVENTIONALS/308 (44) 3 B/B A S4 26 575w G842+ R119 CONVENTIONALS/307 (43) 4 B/B A S4 26 575w G842+ R119 CONVENTIONALS/302 (42) 5 B/B A S4 36 575w G842+ R119 CONVENTIONALS/301 (41) FOH R BOXBOOM U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 B/B B S4 36 575w R3208+ R132 CONVENTIONALS/320 (55) 2 B/B B S4 26 575w R3208+ R132 CONVENTIONALS/319 (54) 3 B/B B S4 26 575w R3208+ R132 CONVENTIONALS/314 (53) 4 B/B B S4 26 575w R3208+ R132 CONVENTIONALS/313 (52) 5 B/B B S4 26 575w R3208+ R132 CONVENTIONALS/2 (51) University of Florida School of Thetare and Dance / FOH L BOXBOOM thru FOH R BOXBOOM

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INSTRUMENT SCHEDULE Page 3 of 30 ChicagoNov14 11/14/11 Chicago FOH L LADER U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DOWNST AGE BB S4 26 575w R3313 CONVENTIONALS/306 (241) 2 DOWNST AGE BB S4 36 575w R3313 CONVENTIONALS/306 (241) 3 DOWNST AGE BB S4 36 575w R3313 CONVENTIONALS/311 (242) 4 WASH PAR 64 MFL 1kw R57 CONVENTIONALS/42 (261) 5 MIDSTAG E SR S4 50 575w R3313+ R119 CONVENTIONALS/312 (245) 6 MIDSTAG E CS S4 36 575w R3313+ R119 CONVENTIONALS/305 (246) 7 MIDSTAG E SL S4 26 575w R3313+ R119 CONVENTIONALS/41 (247) 8 WASH PAR 64 MFL 1kw R57 CONVENTIONALS/42 (261) FOH R Ladder U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DOWNST AGE BB S4 26 575w R70 CONVENTIONALS/17 (251) 2 DOWNST AGE BB S4 36 575w R70 CONVENTIONALS/17 (251) 3 DOWNST AGE BB S4 36 575w R70 CONVENTIONALS/324 (252) 4 WASH PAR 64 MFL 1kw A7050 CONVENTIONALS/30 (265) 5 MIDSTAG E SR S4 50 575w R70 CONVENTIONALS/317 (255) 6 MIDSTAG E CS S4 36 575w R70 CONVENTIONALS/323 (256) 7 MIDSTAG E SL S4 26 575w R70 CONVENTIONALS/318 (257) 8 WASH PAR 64 MFL 1kw A7050 CONVENTIONALS/30 (265) University of Florida School of Thetare and Dance / FOH L LADER thru FOH R Ladder

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INSTRUMENT SCHEDULE Page 4 of 30 ChicagoNov14 11/14/11 Chicago Island 1 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SET B S4 PARnel 575w R27 CONVENTIONALS/70 (221) 2 SET B S4 PARnel 575w R27 CONVENTIONALS/70 (221) Island 2 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/68 (202) 2 DS TOPLIGH T S4 PARnel 575w R79 CONVENTIONALS/57 (145) 3 TIGHT TOP DSR S4 19 575w R3202 CONVENTIONALS/28 (161) 4 H/S A S4 26 575w R39 CONVENTIONALS/67 (63) 5 SET B S4 PAR WFL 575w R27 CONVENTIONALS/56 (222) Island 3 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 TIGHT TOP DSC S4 19 575w R3202 CONVENTIONALS/66 (163) 2 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 CONVENTIONALS/54 (135) 2 SCROLL 7.5" Color Scroller SCROLL SET #6 MOVERS/414 (411) 3 TIGHT TOP CBT SR S4 19 575w R3202 2012 -BR CONVENTIONALS/51 (162) 4 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/65 (201) University of Florida School of Thetare and Dance / Island 1 thru Island 3

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INSTRUMENT SCHEDULE Page 5 of 30 ChicagoNov14 11/14/11 Chicago Island 4 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DS SCROLLE R S4 PARnel 575w SCROLL SET #6 CONVENTIONALS/63 (136) 1 SCROLL 7.5" Color Scroller SCROLL SET #6 MOVERS/418 (412) 2 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/49 (204) 3 WITNESS S4 36 575w R3208 CONVENTIONALS/71 (465) 4 TIGHT TOP CBT CS S4 19 575w R3202 2012 -BR CONVENTIONALS/64 (164) Island 5 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/61 (205) 2 H/S B S4 36 575w R3204 R775 02 CONVENTIONALS/62 (72) 3 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 CONVENTIONALS/72 (137) 3 SCROLL 7.5" Color Scroller SCROLL SET #6 MOVERS/419 (413) 4 TIGHT TOP DSL S4 19 575w R3202 CONVENTIONALS/48 (165) 5 H/S A S4 26 575w R3204 R775 03 CONVENTIONALS/47 (71) Island 6 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SET A S4 PARnel 575w A3850 CONVENTIONALS/60 (215) 2 SET A S4 PARnel 575w A3850 CONVENTIONALS/60 (215) 3 SET B S4 PARnel 575w R27 CONVENTIONALS/44 (226) University of Florida School of Thetare and Dance / Island 4 thru Island 6

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INSTRUMENT SCHEDULE Page 6 of 30 ChicagoNov14 11/14/11 Chicago Island 7 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 H/S A S4 50 575w R39 CONVENTIONALS/58 (61) 3 SET A S4 PARnel 575w A3850 CONVENTIONALS/69 (211) 4 SET A S4 PARnel 575w A3850 CONVENTIONALS/69 (211) Island 8 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DS TOPLIGH T S4 PARnel 575w R79 CONVENTIONALS/57 (145) 2 H/S A S4 36 575w R39 CONVENTIONALS/55 (62) ISLAND 10 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 2 VELMA "MY OWN BEST FRIEND" S4 19 575w R3206 CONVENTIONALS/24 (1201) ISLAND 10-11 Mover Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 WASH VL2416 Wash 400w N/C MOVERS/448 (500) ISLAND 11 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 ROXIE "MY OWN BEST FRIEND" S4 19 575w R3206 CONVENTIONALS/52 (1200) 1 F/L S4 50 575w G885 + R132 CONVENTIONALS/50 (13) University of Florida School of Thetare and Dance / Island 7 thru ISLAND 11

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INSTRUMENT SCHEDULE Page 7 of 30 ChicagoNov14 11/14/11 Chicago Island 13 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DOWN S4 PAR MFL 575w R79+ R119 CONVENTIONALS/45 (146) 2 TIGHT TOP CBT SL S4 19 575w R3202 2012 -BR CONVENTIONALS/46 (166) Island 14 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SET B S4 PARnel 575w R27 CONVENTIONALS/59 (225) 2 H/S B S4 50 575w R3204 R775 03 CONVENTIONALS/43 (73) 3 SET B S4 PARnel 575w R27 CONVENTIONALS/59 (225) Island 16 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 50 575w G885 + R132 CONVENTIONALS/53 (11) 2 F/L ABOVE S4 26 575w R55 + R132 CONVENTIONALS/40 (31) 3 F/L STAIRS S4 36 575w R55 + R132 CONVENTIONALS/27 (21) Island 17 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 50 575w R79+HS 2000 -BR CONVENTIONALS/37 (12) 2 F/L S4 36 575w G885 + R132 CONVENTIONALS/38 (7) Island 18 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 36 575w G885 + R132 CONVENTIONALS/35 (8) University of Florida School of Thetare and Dance / Island 13 thru Island 18

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INSTRUMENT SCHEDULE Page 8 of 30 ChicagoNov14 11/14/11 Chicago Island 19 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 36 575w G885 + R132 CONVENTIONALS/33 (9) 2 F/L S4 50 575w R66 G548 CONVENTIONALS/34 (14) Island 20 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L STAIRS S4 36 575w R55 + R132 CONVENTIONALS/20 (25) 2 F/L ABOVE S4 26 575w R55 + R132 CONVENTIONALS/1 (35) 3 F/L S4 50 575w G885 + R132 CONVENTIONALS/31 (15) Island 21 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 DOWN S4 PARnel 575w R79 CONVENTIONALS/45 (146) Island 23 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L STAIRS S4 26 575w R55 + R132 CONVENTIONALS/27 (21) Island 24 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 36 575w G885 + R132 CONVENTIONALS/25 (6) 2 F/L S4 26 575w G885 + R132 CONVENTIONALS/26 (1) Island 24-25 Mover Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 MOVER VL-1000 Iris 1kw L236 MOVERS/50 (520) University of Florida School of Thetare and Dance / Island 19 thru Island 24-25 Mover Pipe

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INSTRUMENT SCHEDULE Page 9 of 30 ChicagoNov14 11/14/11 Chicago Island 25 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 26 575w G885 + R132 CONVENTIONALS/23 (2) Island 26 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L S4 26 575w G885 + R132 CONVENTIONALS/6 (4) 2 F/L S4 26 575w G885 + R132 CONVENTIONALS/21 (3) Island 26-27 Mover Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 MOVER VL-1000 Shutter 1kw L236 MOVERS/100 (540) Island 27 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L STAIRS S4 26 575w R55 + R132 CONVENTIONALS/20 (25) 2 F/L S4 26 575w G885 + R132 CONVENTIONALS/18 (5) 3 F/L S4 36 575w G885 + R132 CONVENTIONALS/19 (10) Island 30 Spot Booth U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SPOT Midget 2k Follow Spot 2kw SEE BAYON ET Nd (Nd) Island 31 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L ABOVE S4 26 750w R337 1224 -BR CONVENTIONALS/14 (32) University of Florida School of Thetare and Dance / Island 25 thru Island 31

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INSTRUMENT SCHEDULE Page 10 of 30 ChicagoNov14 11/14/11 Chicago Island 33 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L ABOVE S4 50 750w R362 1028 -BR CONVENTIONALS/9 (33) Island 36 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 F/L ABOVE S4 26 750w R337 1224 -BR CONVENTIONALS/14 (32) Island 37 Spot Booth U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SPOT Midget 2k Follow Spot 2kw SEE BAYON ET Nd (Nd) University of Florida School of Thetare and Dance / Island 33 thru Island 37 Spot Booth

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INSTRUMENT SCHEDULE Page 11 of 30 ChicagoNov14 11/14/11 Chicago APRON Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan SEAL FILL S4 19 575w (468) 2 H/S B S4 50 575w R3204 R775 03 CONVENTIONALS/73 (76) 3 SET A S4 PARnel 575w A3850 CONVENTIONALS/74 (216) 4 H/S B S4 36 575w R3204 R775 02 CONVENTIONALS/75 (75) 5 TOPLIGH T S4 PAR MFL 575w R79+ R119 CONVENTIONALS/78 (144) 6 TIGHT TOP S4 19 575w R3202 CONVENTIONALS/76 (157) 7 H/S B S4 26 575w R3204 R775 03 CONVENTIONALS/77 (74) 8 TOPLIGH T S4 PAR MFL 575w R79+ R119 CONVENTIONALS/78 (144) 9 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/74 (206) 10 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 CONVENTIONALS/80 (134) 10 SCROLL 7.5" Color Scroller SCROLL SET #6 MOVERS/406 (410) 11 TIGHT TOP S4 19 575w R3202 CONVENTIONALS/81 (156) 12 DS TOPLIGH T S4 PAR MFL 575w R79+ R119 CONVENTIONALS/84 (143) 13 LANDING S4 36 575w R68 R774 23 CONVENTIONALS/82 (203) 14 TIGHT TOP S4 19 575w R3202 CONVENTIONALS/83 (155) 15 DS TOPLIGH T S4 PAR MFL 575w R79+ R119 CONVENTIONALS/84 (143) 16 H/S A S4 26 575w R39 CONVENTIONALS/85 (66) 17 H/S A S4 36 575w R39 CONVENTIONALS/87 (65) 18 SET A S4 PARnel 575w A3850 CONVENTIONALS/86 (212) University of Florida School of Thetare and Dance / APRON Pipe

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INSTRUMENT SCHEDULE Page 12 of 30 ChicagoNov14 11/14/11 Chicago APRON Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 19 H/S A S4 50 575w R39 CONVENTIONALS/88 (64) SL Side Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 RAIN A S4 50 575w R358 1054 -BR CONVENTIONALS/172 (382) 2 RAIN B S4 50 575w R362 R783 3 CONVENTIONALS/167 (392) 3 ORCH SCRAPE S4 36 575w R4915 R774 8 CONVENTIONALS/166 (372) 4 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/152 (106) 5 S/L B S4 50 575w R349 CONVENTIONALS/149 (116) 6 UNDER CAUSEW AY PAR 64 NSP 1kw R305 CONVENTIONALS/150 (312) 8 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/138 (105) 9 S/L B S4 50 575w R349 CONVENTIONALS/137 (115) 10 MOVER VL2201 Spot 400w N/C MOVERS/300 (580) 11 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/29 (104) 12 S/L B S4 50 575w R349 CONVENTIONALS/4 (114) University of Florida School of Thetare and Dance / APRON Pipe thru SL Side Pipe

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INSTRUMENT SCHEDULE Page 13 of 30 ChicagoNov14 11/14/11 Chicago SR Side Pipe U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 RAIN A S4 50 575w R358 1054 -BR CONVENTIONALS/11 (381) 2 RAIN B S4 50 575w R362 R783 3 CONVENTIONALS/39 (391) 3 ORCH SCRAPE S4 36 575w R4915 R774 8 CONVENTIONALS/3 (371) 4 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/12 (103) 5 S/L B S4 50 575w R349 CONVENTIONALS/7 (113) 6 UNDER CAUSEW AY PAR 64 NSP 1kw R365 CONVENTIONALS/36 (311) 8 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/8 (102) 9 S/L B S4 50 575w R349 CONVENTIONALS/235 (112) 10 MOVER VL2201 Spot 400w N/C MOVERS/150 (560) 11 S/L C PAR 64 NSP 1kw R3208 CONVENTIONALS/236 (101) 12 S/L B S4 50 575w R349 CONVENTIONALS/237 (111) University of Florida School of Thetare and Dance / SR Side Pipe

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INSTRUMENT SCHEDULE Page 14 of 30 ChicagoNov14 11/14/11 Chicago 1st LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 H/S B S4 36 575w R78 6024 -BR CONVENTIONALS/89 (77) 2 H/S B S4 36 575w R66 R766 01 CONVENTIONALS/90 (78) 3 H/S B S4 26 575w R81+HS CONVENTIONALS/91 (79) 4 ABOVE CROSSO VER SCROLLE R S4 PARnel 575w SCROLL SET #1 CONVENTIONALS/92 (125) 4 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/405 (404) 5 HEX TOPLIGH T S4 PARnel 575w R79 CONVENTIONALS/93 (142) 6 TIGHT TOP S4 19 575w R3202 CONVENTIONALS/104 (153) 7 ARIAL S4 50 575w R336 CONVENTIONALS/109 (472) 7 Rotator Apollo Gobo Rotator N/C Cam o2 MOVERS/437 (437) 8 HEXAGO N SCROLLE R S4 PAR MFL 575w SCROLL SET #4 CONVENTIONALS/106 (133) 8 SCROLL 7.5" Color Scroller SCROLL SET #4 MOVERS/401 (409) 9 TIGHT TOP (BED) S4 19 575w R3202 CONVENTIONALS/107 (152) 10 HEXAGO N SCROLLE R S4 PAR MFL 575w SCROLL SET #4 CONVENTIONALS/108 (132) 10 SCROLL 7.5" Color Scroller SCROLL SET #4 MOVERS/402 (408) 11 STROBE Atomic 3000 Strobe 3kw N/C MOVERS/322 (666) University of Florida School of Thetare and Dance / 1st LX

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INSTRUMENT SCHEDULE Page 15 of 30 ChicagoNov14 11/14/11 Chicago 1st LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 12 HEXAGO N SCROLLE R S4 PAR MFL 575w SCROLL SET #4 CONVENTIONALS/110 (131) 12 SCROLL 7.5" Color Scroller SCROLL SET #4 MOVERS/413 (407) 13 ARIAL S4 50 575w R336 CONVENTIONALS/111 (471) 13 Rotator Apollo Gobo Rotator N/C Cam o1 MOVERS/434 (434) 14 TIGHT TOP S4 19 575w R3202 CONVENTIONALS/112 (151) 15 HEX TOPLIGH T S4 PAR MFL 575w R79+ R119 CONVENTIONALS/113 (141) 16 ABOVE CROSSO VER SCROLLE R S4 PARnel 575w SCROLL SET #1 CONVENTIONALS/115 (121) 16 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/403 (401) 17 H/S A S4 26 575w R336 CONVENTIONALS/116 (69) 18 H/S A S4 36 575w R333 G557 CONVENTIONALS/118 (68) 19 H/S A S4 36 575w R3407 6020 -AR CONVENTIONALS/117 (67) University of Florida School of Thetare and Dance / 1st LX

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INSTRUMENT SCHEDULE Page 16 of 30 ChicagoNov14 11/14/11 Chicago 2nd LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan UPPER PLATFOR M F/L S4 50 575w (19) UPPER PLATFOR M F/L S4 50 575w (19) UPPER PLATFOR M F/L S4 50 575w (17) UPPER PLATFOR M F/L S4 50 575w (17) 1 BACK B S4 36 575w R362 2051 -AR CONVENTIONALS/119 (905) 2 BACK A S4 36 575w G872 CONVENTIONALS/120 (825) 3 ABOVE CROSSO VER SCROLLE R S4 PARnel 575w SCROLL SET #1 CONVENTIONALS/121 (126) 3 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/411 (405) 4 B/L C PAR 64 WFL 1kw R3202 CONVENTIONALS/122 (195) 5 BACK B S4 36 575w R362 2051 -AR CONVENTIONALS/123 (904) 6 BACK A S4 36 575w G872 CONVENTIONALS/124 (824) 7 BACK B S4 36 575w R362 2051 -AR CONVENTIONALS/126 (903) 8 BACK A S4 36 575w G872 CONVENTIONALS/128 (823) 9 BACK B S4 36 575w R362 2051 -AR CONVENTIONALS/129 (902) 10 BACK A S4 36 575w G872 CONVENTIONALS/130 (822) 11 B/L C PAR 64 WFL 1kw R3202 CONVENTIONALS/132 (191) 12 BACK B S4 36 575w R362 2051 -AR CONVENTIONALS/131 (901) 13 BACK A S4 36 575w G872 CONVENTIONALS/127 (821) University of Florida School of Thetare and Dance / 2nd LX

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INSTRUMENT SCHEDULE Page 17 of 30 ChicagoNov14 11/14/11 Chicago 2nd LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 14 ABOVE CROSSO VER SCROLLE R S4 PARnel 575w SCROLL SET #1 CONVENTIONALS/133 (122) 14 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/415 (402) 3rd LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 2 ABOVE CROSSO VER SCROLLE R S4 PAR WFL 575w SCROLL SET #1 CONVENTIONALS/135 (127) 2 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/412 (406) 3 TEXTURE TOP S4 50 575w R06 R772 04 CONVENTIONALS/134 (913) 4 TEXTURE TOP S4 50 575w R06 R772 04 CONVENTIONALS/136 (912) 5 TEXTURE TOP S4 50 575w R06 R772 04 CONVENTIONALS/139 (911) 6 ABOVE CROSSO VER SCROLLE R S4 PAR WFL 575w SCROLL SET #1 CONVENTIONALS/140 (123) 6 SCROLL 7.5" Color Scroller SCROLL SET #1 MOVERS/404 (403) 7 MOVER VL 3000 Spot 1.2kw N/C MOVERS/350 (620) 8 SEAL SCRAPE S4 36 575w R08 G647 CONVENTIONALS/146 (466) University of Florida School of Thetare and Dance / 2nd LX thru 3rd LX

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INSTRUMENT SCHEDULE Page 18 of 30 ChicagoNov14 11/14/11 Chicago 4th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/154 (353) 2 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/154 (353) 3 DOWN 8" Fresnel 1kw R365 CONVENTIONALS/155 (173) 4 DOWN 8" Fresnel 1kw R365 CONVENTIONALS/155 (173) 5 B/L C PAR 64 WFL 1kw R3202 CONVENTIONALS/157 (196) 6 DOWN 8" Fresnel 1kw R365 CONVENTIONALS/158 (172) 7 B/L C PAR 64 WFL 1kw R3202 CONVENTIONALS/160 (192) 8 DOWN 8" Fresnel 1kw R365 CONVENTIONALS/159 (171) 9 DOWN 8" Fresnel 1kw R365 CONVENTIONALS/159 (171) 10 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/153 (352) 11 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/153 (352) 12 PIANO S4 50 575w R34 CONVENTIONALS/156 (441) 12 Rotator Apollo Gobo Rotator N/C MOVERS/431 (431) 5th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 4 BAND B 8" Fresnel 1kw R80 CONVENTIONALS/163 (853) 5 BAND B 8" Fresnel 1kw R80 CONVENTIONALS/163 (853) University of Florida School of Thetare and Dance / 4th LX thru 5th LX

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INSTRUMENT SCHEDULE Page 19 of 30 ChicagoNov14 11/14/11 Chicago 6th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/173 (351) 2 BAND A 8" Fresnel 1kw R80 CONVENTIONALS/178 (851) 3 Band Texture S4 70 575w R34 R784 05 CONVENTIONALS/179 (841) 4 BAND A 8" Fresnel 1kw R80 CONVENTIONALS/182 (852) 5 Band Texture S4 70 575w R34 R784 05 CONVENTIONALS/179 (841) 6 BAND A 8" Fresnel 1kw R80 CONVENTIONALS/178 (851) 7 ESCAPE A 8" Fresnel 1kw R63 CONVENTIONALS/173 (351) University of Florida School of Thetare and Dance / 6th LX

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INSTRUMENT SCHEDULE Page 20 of 30 ChicagoNov14 11/14/11 Chicago 7th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/141 (341) 1b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/142 (342) 1c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/165 (343) 1d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/141 (341) 1e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/142 (342) 1f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/165 (343) 2a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/141 (341) 2b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/142 (342) 2c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/165 (343) 2d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/141 (341) 2e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/142 (342) 2f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/165 (343) 3a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/185 (341) 3b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/186 (342) 3c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/187 (343) 3d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/185 (341) 3e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/186 (342) 3f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/187 (343) University of Florida School of Thetare and Dance / 7th LX

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INSTRUMENT SCHEDULE Page 21 of 30 ChicagoNov14 11/14/11 Chicago 7th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 4a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/188 (341) 4b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/189 (342) 4c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/190 (343) 4d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/188 (341) 4e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/189 (342) 4f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/190 (343) 5a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/185 (341) 5b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/186 (342) 5c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/187 (343) 5d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/185 (341) 5e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/186 (342) 5f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/187 (343) 6a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/191 (341) 6b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/192 (342) 6c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/193 (343) 6d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/191 (341) 6e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/192 (342) 6f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/193 (343) University of Florida School of Thetare and Dance / 7th LX

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INSTRUMENT SCHEDULE Page 22 of 30 ChicagoNov14 11/14/11 Chicago 7th LX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 7a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/191 (341) 7b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/192 (342) 7c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/193 (343) 7d Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 CONVENTIONALS/191 (341) 7e Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 CONVENTIONALS/192 (342) 7f Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 CONVENTIONALS/193 (343) DSL FLOOR MOUNT U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SHIN Selecon Pacific 90 575w R72 CONVENTIONALS/204 (272) DSR FLOOR MOUNT U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 SHIN Selecon Pacific 90 575w R72 CONVENTIONALS/246 (271) SL BOOM U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 MID PAR 64 WFL 1kw R55 CONVENTIONALS/210 (306) 2 MID PAR 64 WFL 1kw R55 CONVENTIONALS/209 (302) 3 SHIN S4 50 575w L052 CONVENTIONALS/208 (282) 4 SHIN S4 50 575w R339 CONVENTIONALS/207 (292) University of Florida School of Thetare and Dance / 7th LX thru SL BOOM

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INSTRUMENT SCHEDULE Page 23 of 30 ChicagoNov14 11/14/11 Chicago Deck U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan UPLIGHT Q-Lite 1kw R358 CONVENTIONALS/244 (491) UPLIGHT Q-Lite 1kw R358 CONVENTIONALS/205 (494) 2a STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R81 CONVENTIONALS/247 (681) 2a STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R81 CONVENTIONALS/223 (685) 2b STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R388 CONVENTIONALS/248 (682) 2b STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R388 CONVENTIONALS/224 (686) 2c STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R305 CONVENTIONALS/249 (683) 2c STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R305 CONVENTIONALS/225 (687) 2d STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R27 CONVENTIONALS/250 (684) 2d STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R27 CONVENTIONALS/226 (688) University of Florida School of Thetare and Dance / Deck

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INSTRUMENT SCHEDULE Page 24 of 30 ChicagoNov14 11/14/11 Chicago UNDER HEX U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 HEXAGO N FOOTLIG HTS Phillips iCove 12w N/C MOVERS/7 (781) 2 HEXAGO N FOOTLIG HTS Phillips iCove 12w N/C MOVERS/10 (761) 3 HEXAGO N FOOTLIG HTS Phillips iCove 12w N/C MOVERS/13 (741) 4 HEXAGO N FOOTLIG HTS Phillips iCove 12w N/C MOVERS/16 (721) 5 HEXAGO N FOOTLIG HTS Phillips iCove 12w N/C MOVERS/4 (701) Lift U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 LIFT BACK 3" Fresnel 100w R64 Na (481) 2 LIFT BACK 3" Fresnel 100w R64 Na (481) University of Florida School of Thetare and Dance / UNDER HEX thru Lift

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INSTRUMENT SCHEDULE Page 25 of 30 ChicagoNov14 11/14/11 Chicago Footlight Trough U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 FOOTLIG HT 3" Fresnel 100w R3313 CONVENTIONALS/212 (954) 3 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/211 (953) 4 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/211 (953) 5 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/211 (953) 6 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/211 (953) 7 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/213 (952) 8 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/213 (952) 9 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/213 (952) 10 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/214 (951) 11 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/214 (951) 12 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/214 (951) 13 FOOTLIG HT MR-16 Birdie 12w N/C CONVENTIONALS/214 (951) 15 FOOTLIG HT 3" Fresnel 100w R3313 CONVENTIONALS/212 (954) University of Florida School of Thetare and Dance / Footlight Trough

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INSTRUMENT SCHEDULE Page 26 of 30 ChicagoNov14 11/14/11 Chicago LS 9 JAIL LIGHT BATTON U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 JAIL PRACTIC AL Practical 300w N/C CONVENTIONALS/144 (803) 2 JAIL PRACTIC AL Practical 300w N/C CONVENTIONALS/145 (802) 3 JAIL PRACTIC AL Practical 300w N/C CONVENTIONALS/148 (801) DS FOOTLIGHT TROUGH U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 2 FLASHBU LBS Chauvet Strobe N/C MOVERS/233 (971) 14 FLASHBU LBS Chauvet Strobe N/C MOVERS/230 (961) UNDER PLATFORMING SR U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan UPLIGHT Q-Lite 1kw R367 CONVENTIONALS/245 (492) UNDER PLATFORMING SL U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan UPLIGHT Q-Lite 1kw R367 CONVENTIONALS/203 (493) LS 1 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 Roxie and Velma Sign Lightbox N/C CONVENTIONALS/143 (1010) University of Florida School of Thetare and Dance / LS 9 JAIL LIGHT BATTON thru LS 1

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INSTRUMENT SCHEDULE Page 27 of 30 ChicagoNov14 11/14/11 Chicago LS 18 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 Roxie "E" Bare A Lamps N/C CONVENTIONALS/181 (1025) 2 Roxie "I" Bare A Lamps N/C CONVENTIONALS/183 (1024) 3 Roxie "X" Bare A Lamps N/C CONVENTIONALS/177 (1023) 4 Roxie "O" Bare A Lamps N/C CONVENTIONALS/180 (1022) 5 Roxie "R" Bare A Lamps N/C CONVENTIONALS/184 (1021) University of Florida School of Thetare and Dance / LS 18

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INSTRUMENT SCHEDULE Page 28 of 30 ChicagoNov14 11/14/11 Chicago LS 2 U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 Light Curtain Panel J GOW Xmas Lights N/C CONVENTIONALS/103 (1040) 2 Light Curtain Panel I GOW Xmas Lights N/C CONVENTIONALS/97 (1039) 3 Light Curtain Panel H GOW Xmas Lights N/C CONVENTIONALS/102 (1038) 4 Light Curtain Panel G GOW Xmas Lights N/C CONVENTIONALS/95 (1037) 5 Light Curtain Panel F GOW Xmas Lights N/C CONVENTIONALS/96 (1036) 6 Light Curtain Panel E GOW Xmas Lights N/C CONVENTIONALS/100 (1035) 7 Light Curtain Panel D GOW Xmas Lights N/C CONVENTIONALS/99 (1034) 8 Light Curtain Panel C GOW Xmas Lights N/C CONVENTIONALS/101 (1033) 9 Light Curtain Panel B GOW Xmas Lights N/C CONVENTIONALS/94 (1032) 10 Light Curtain Panel A GOW Xmas Lights N/C CONVENTIONALS/98 (1031) University of Florida School of Thetare and Dance / LS 2

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INSTRUMENT SCHEDULE Page 29 of 30 ChicagoNov14 11/14/11 Chicago ON HEXAGON U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan LED Rivet Horizontal Strip LED 12w CONVENTIONALS/217 (1103) LED Rivet Horizontal Strip LED 12w CONVENTIONALS/216 (1102) 1 LED Rivet Bottom LED 12w N/C (1101) 1 LED Rivet Horizontal Strip LED 12w N/C CONVENTIONALS/215 (1102) 1 LED Rivet Horizontal Strip LED 12w N/C CONVENTIONALS/241 (1103) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/242 (1104) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/243 (1105) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/215 (1106) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/217 (1107) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/218 (1108) 1 LED Rivet Vertical Strip LED 12w N/C CONVENTIONALS/219 (1109) SR BOOM U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan 1 MID PAR 64 WFL 1kw R3208 CONVENTIONALS/229 (305) 2 MID PAR 64 WFL 1kw R3208 CONVENTIONALS/227 (301) 3 SHIN S4 50 575w L052 CONVENTIONALS/228 (281) 4 SHIN S4 50 575w R339 CONVENTIONALS/230 (291) University of Florida School of Thetare and Dance / ON HEXAGON thru SR BOOM

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INSTRUMENT SCHEDULE Page 30 of 30 ChicagoNov14 11/14/11 Chicago FOH U# Purpose Type & Acc & W Ckt C# Color Gobo Gsiz Dimmer Chan HOUSE LIGHTS HOUSE LIGHTS 60w (321) University of Florida School of Thetare and Dance / FOH

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CHANNEL HOOKUP Page 1 of 19 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (1) CONVENTIONALS/26 Island 24 2 F/L S4 26 575w G885 + R132 (2) CONVENTIONALS/23 Island 25 1 F/L S4 26 575w G885 + R132 (3) CONVENTIONALS/21 Island 26 2 F/L S4 26 575w G885 + R132 (4) CONVENTIONALS/6 Island 26 1 F/L S4 26 575w G885 + R132 (5) CONVENTIONALS/18 Island 27 2 F/L S4 26 575w G885 + R132 (6) CONVENTIONALS/25 Island 24 1 F/L S4 36 575w G885 + R132 (7) CONVENTIONALS/38 Island 17 2 F/L S4 36 575w G885 + R132 (8) CONVENTIONALS/35 Island 18 1 F/L S4 36 575w G885 + R132 (9) CONVENTIONALS/33 Island 19 1 F/L S4 36 575w G885 + R132 (10) CONVENTIONALS/19 Island 27 3 F/L S4 36 575w G885 + R132 (11) CONVENTIONALS/53 Island 16 1 F/L S4 50 575w G885 + R132 (12) CONVENTIONALS/37 Island 17 1 F/L S4 50 575w R79+HS 2000BR (13) CONVENTIONALS/50 ISLAND 11 1 F/L S4 50 575w G885 + R132 (14) CONVENTIONALS/34 Island 19 2 F/L S4 50 575w R66 G548 (15) CONVENTIONALS/31 Island 20 3 F/L S4 50 575w G885 + R132 (17) 2nd LX UPPER PLATFOR M F/L S4 50 575w " University of Florida School of Thetare and Dance / (1) thru (17)

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CHANNEL HOOKUP Page 2 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (19) 2nd LX UPPER PLATFOR M F/L S4 50 575w " (21) CONVENTIONALS/27 Island 16 3 F/L STAIRS S4 36 575w R55 + R132 Island 23 1 S4 26 575w (25) CONVENTIONALS/20 Island 20 1 F/L STAIRS S4 36 575w R55 + R132 Island 27 " S4 26 575w (31) CONVENTIONALS/40 Island 16 2 F/L ABOVE S4 26 575w R55 + R132 (32) CONVENTIONALS/14 Island 31 1 F/L ABOVE S4 26 750w R337 1224BR Island 36 " " (33) CONVENTIONALS/9 Island 33 1 F/L ABOVE S4 50 750w R362 1028BR (35) CONVENTIONALS/1 Island 20 2 F/L ABOVE S4 26 575w R55 + R132 (41) CONVENTIONALS/301 FOH L BOXBOO M 5 B/B A S4 36 575w G842+ R119 (42) CONVENTIONALS/302 FOH L BOXBOO M 4 B/B A S4 26 575w G842+ R119 (43) CONVENTIONALS/307 FOH L BOXBOO M 3 B/B A S4 26 575w G842+ R119 (44) CONVENTIONALS/308 FOH L BOXBOO M 2 B/B A S4 26 575w G842+ R119 (45) CONVENTIONALS/15 FOH L BOXBOO M 1 B/B A S4 26 575w G842+ R119 (51) CONVENTIONALS/2 FOH R BOXBOO M 5 B/B B S4 26 575w R3208+ R132 University of Florida School of Thetare and Dance / (19) thru (51)

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CHANNEL HOOKUP Page 3 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (52) CONVENTIONALS/313 FOH R BOXBOO M 4 B/B B S4 26 575w R3208+ R132 (53) CONVENTIONALS/314 FOH R BOXBOO M 3 B/B B S4 26 575w R3208+ R132 (54) CONVENTIONALS/319 FOH R BOXBOO M 2 B/B B S4 26 575w R3208+ R132 (55) CONVENTIONALS/320 FOH R BOXBOO M 1 B/B B S4 36 575w R3208+ R132 (61) CONVENTIONALS/58 Island 7 1 H/S A S4 50 575w R39 (62) CONVENTIONALS/55 Island 8 2 H/S A S4 36 575w R39 (63) CONVENTIONALS/67 Island 2 4 H/S A S4 26 575w R39 (64) CONVENTIONALS/88 APRON Pipe 19 H/S A S4 50 575w R39 (65) CONVENTIONALS/87 APRON Pipe 17 H/S A S4 36 575w R39 (66) CONVENTIONALS/85 APRON Pipe 16 H/S A S4 26 575w R39 (67) CONVENTIONALS/117 1st LX 19 H/S A S4 36 575w R3407 6020AR (68) CONVENTIONALS/118 1st LX 18 H/S A S4 36 575w R333 G557 (69) CONVENTIONALS/116 1st LX 17 H/S A S4 26 575w R336 (71) CONVENTIONALS/47 Island 5 5 H/S A S4 26 575w R3204 R775 03 (72) CONVENTIONALS/62 Island 5 2 H/S B S4 36 575w R3204 R775 02 (73) CONVENTIONALS/43 Island 14 2 H/S B S4 50 575w R3204 R775 03 (74) CONVENTIONALS/77 APRON Pipe 7 H/S B S4 26 575w R3204 R775 03 (75) CONVENTIONALS/75 APRON Pipe 4 H/S B S4 36 575w R3204 R775 02 (76) CONVENTIONALS/73 APRON Pipe 2 H/S B S4 50 575w R3204 R775 03 University of Florida School of Thetare and Dance / (52) thru (76)

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CHANNEL HOOKUP Page 4 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (77) CONVENTIONALS/89 1st LX 1 H/S B S4 36 575w R78 6024BR (78) CONVENTIONALS/90 1st LX 2 H/S B S4 36 575w R66 R766 01 (79) CONVENTIONALS/91 1st LX 3 H/S B S4 26 575w R81+HS (81) CONVENTIONALS/303 ROH LEFT 5 F/F STAIRS S4 26 750w L127 (82) CONVENTIONALS/13 ROH LEFT 6 F/F SR S4 26 750w L127 (83) CONVENTIONALS/304 ROH LEFT 4 F/F CS S4 26 750w L127 (84) CONVENTIONALS/309 ROH LEFT 1 F/F SL S4 26 750w L127 (85) CONVENTIONALS/16 ROH LEFT 3 F/F STAIRS S4 26 750w L127 (91) CONVENTIONALS/316 ROH RIGHT 4 F/F STAIRS S4 26 750w L716 (92) CONVENTIONALS/22 ROH RIGHT 6 F/F SR S4 26 750w L716 (93) CONVENTIONALS/321 ROH RIGHT 3 F/F CS S4 26 750w L716 (94) CONVENTIONALS/32 ROH RIGHT 1 F/F SL S4 26 750w L716 (95) CONVENTIONALS/322 ROH RIGHT 2 F/F STAIRS S4 26 750w L716 (98) CONVENTIONALS/310 ROH LEFT 2 TEXTURE WASH S4 26 750w N/C R770 12 (99) CONVENTIONALS/315 ROH RIGHT 5 TEXTURE WASH S4 26 750w N/C R770 12 (101) CONVENTIONALS/236 SR Side Pipe 11 S/L C PAR 64 NSP 1kw R3208 (102) CONVENTIONALS/8 SR Side Pipe 8 S/L C PAR 64 NSP 1kw R3208 (103) CONVENTIONALS/12 SR Side Pipe 4 S/L C PAR 64 NSP 1kw R3208 (104) CONVENTIONALS/29 SL Side Pipe 11 S/L C PAR 64 NSP 1kw R3208 University of Florida School of Thetare and Dance / (77) thru (104)

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CHANNEL HOOKUP Page 5 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (105) CONVENTIONALS/138 SL Side Pipe 8 S/L C PAR 64 NSP 1kw R3208 (106) CONVENTIONALS/152 SL Side Pipe 4 S/L C PAR 64 NSP 1kw R3208 (111) CONVENTIONALS/237 SR Side Pipe 12 S/L B S4 50 575w R349 (112) CONVENTIONALS/235 SR Side Pipe 9 S/L B S4 50 575w R349 (113) CONVENTIONALS/7 SR Side Pipe 5 S/L B S4 50 575w R349 (114) CONVENTIONALS/4 SL Side Pipe 12 S/L B S4 50 575w R349 (115) CONVENTIONALS/137 SL Side Pipe 9 S/L B S4 50 575w R349 (116) CONVENTIONALS/149 SL Side Pipe 5 S/L B S4 50 575w R349 (121) CONVENTIONALS/115 1st LX 16 ABOVE CROSSOV ER SCROLLE R S4 PARnel 575w SCROLL SET #1 (122) CONVENTIONALS/133 2nd LX 14 ABOVE CROSSOV ER SCROLLE R S4 PARnel 575w SCROLL SET #1 (123) CONVENTIONALS/140 3rd LX 6 ABOVE CROSSOV ER SCROLLE R S4 PAR WFL 575w SCROLL SET #1 (125) CONVENTIONALS/92 1st LX 4 ABOVE CROSSOV ER SCROLLE R S4 PARnel 575w SCROLL SET #1 (126) CONVENTIONALS/121 2nd LX 3 ABOVE CROSSOV ER SCROLLE R S4 PARnel 575w SCROLL SET #1 University of Florida School of Thetare and Dance / (105) thru (126)

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CHANNEL HOOKUP Page 6 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (127) CONVENTIONALS/135 3rd LX 2 ABOVE CROSSOV ER SCROLLE R S4 PAR WFL 575w SCROLL SET #1 (131) CONVENTIONALS/110 1st LX 12 HEXAGON SCROLLE R S4 PAR MFL 575w SCROLL SET #4 (132) CONVENTIONALS/108 1st LX 10 HEXAGON SCROLLE R S4 PAR MFL 575w SCROLL SET #4 (133) CONVENTIONALS/106 1st LX 8 HEXAGON SCROLLE R S4 PAR MFL 575w SCROLL SET #4 (134) CONVENTIONALS/80 APRON Pipe 10 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 (135) CONVENTIONALS/54 Island 3 2 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 (136) CONVENTIONALS/63 Island 4 1 DS SCROLLE R S4 PARnel 575w SCROLL SET #6 (137) CONVENTIONALS/72 Island 5 3 DS SCROLLE R S4 PAR MFL 575w SCROLL SET #6 (141) CONVENTIONALS/113 1st LX 15 HEX TOPLIGHT S4 PAR MFL 575w R79+ R119 (142) CONVENTIONALS/93 1st LX 5 HEX TOPLIGHT S4 PARnel 575w R79 (143) CONVENTIONALS/84 APRON Pipe 12 DS TOPLIGHT S4 PAR MFL 575w R79+ R119 " 15 " (144) CONVENTIONALS/78 APRON Pipe 5 TOPLIGHT S4 PAR MFL 575w R79+ R119 " 8 " (145) CONVENTIONALS/57 Island 2 2 DS TOPLIGHT S4 PARnel 575w R79 Island 8 1 " University of Florida School of Thetare and Dance / (127) thru (145)

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CHANNEL HOOKUP Page 7 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (146) CONVENTIONALS/45 Island 13 1 DOWN S4 PAR MFL 575w R79+ R119 Island 21 " S4 PARnel 575w R79 (151) CONVENTIONALS/112 1st LX 14 TIGHT TOP S4 19 575w R3202 (152) CONVENTIONALS/107 1st LX 9 TIGHT TOP (BED) S4 19 575w R3202 (153) CONVENTIONALS/104 1st LX 6 TIGHT TOP S4 19 575w R3202 (155) CONVENTIONALS/83 APRON Pipe 14 TIGHT TOP S4 19 575w R3202 (156) CONVENTIONALS/81 APRON Pipe 11 TIGHT TOP S4 19 575w R3202 (157) CONVENTIONALS/76 APRON Pipe 6 TIGHT TOP S4 19 575w R3202 (161) CONVENTIONALS/28 Island 2 3 TIGHT TOP DSR S4 19 575w R3202 (162) CONVENTIONALS/51 Island 3 3 TIGHT TOP CBT SR S4 19 575w R3202 2012BR (163) CONVENTIONALS/66 Island 3 1 TIGHT TOP DSC S4 19 575w R3202 (164) CONVENTIONALS/64 Island 4 4 TIGHT TOP CBT CS S4 19 575w R3202 2012BR (165) CONVENTIONALS/48 Island 5 4 TIGHT TOP DSL S4 19 575w R3202 (166) CONVENTIONALS/46 Island 13 2 TIGHT TOP CBT SL S4 19 575w R3202 2012BR (171) CONVENTIONALS/159 4th LX 8 DOWN 8" Fresnel 1kw R365 " 9 " (172) CONVENTIONALS/158 4th LX 6 DOWN 8" Fresnel 1kw R365 (173) CONVENTIONALS/155 4th LX 3 DOWN 8" Fresnel 1kw R365 " 4 " (191) CONVENTIONALS/132 2nd LX 11 B/L C PAR 64 WFL 1kw R3202 (192) CONVENTIONALS/160 4th LX 7 B/L C PAR 64 WFL 1kw R3202 University of Florida School of Thetare and Dance / (146) thru (192)

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CHANNEL HOOKUP Page 8 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (195) CONVENTIONALS/122 2nd LX 4 B/L C PAR 64 WFL 1kw R3202 (196) CONVENTIONALS/157 4th LX 5 B/L C PAR 64 WFL 1kw R3202 (201) CONVENTIONALS/65 Island 3 4 LANDING S4 36 575w R68 R774 23 (202) CONVENTIONALS/68 Island 2 1 LANDING S4 36 575w R68 R774 23 (203) CONVENTIONALS/82 APRON Pipe 13 LANDING S4 36 575w R68 R774 23 (204) CONVENTIONALS/49 Island 4 2 LANDING S4 36 575w R68 R774 23 (205) CONVENTIONALS/61 Island 5 1 LANDING S4 36 575w R68 R774 23 (206) CONVENTIONALS/74 APRON Pipe 9 LANDING S4 36 575w R68 R774 23 (211) CONVENTIONALS/69 Island 7 3 SET A S4 PARnel 575w A3850 " 4 " (212) CONVENTIONALS/86 APRON Pipe 18 SET A S4 PARnel 575w A3850 (215) CONVENTIONALS/60 Island 6 1 SET A S4 PARnel 575w A3850 " 2 " (216) CONVENTIONALS/74 APRON Pipe 3 SET A S4 PARnel 575w A3850 (221) CONVENTIONALS/70 Island 1 1 SET B S4 PARnel 575w R27 " 2 " (222) CONVENTIONALS/56 Island 2 5 SET B S4 PAR WFL 575w R27 (225) CONVENTIONALS/59 Island 14 1 SET B S4 PARnel 575w R27 " 3 " (226) CONVENTIONALS/44 Island 6 3 SET B S4 PARnel 575w R27 (241) CONVENTIONALS/306 FOH L LADER 1 DOWNSTA GE BB S4 26 575w R3313 " 2 S4 36 575w (242) CONVENTIONALS/311 FOH L LADER 3 DOWNSTA GE BB S4 36 575w R3313 University of Florida School of Thetare and Dance / (195) thru (242)

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CHANNEL HOOKUP Page 9 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (245) CONVENTIONALS/312 FOH L LADER 5 MIDSTAGE SR S4 50 575w R3313+ R119 (246) CONVENTIONALS/305 FOH L LADER 6 MIDSTAGE CS S4 36 575w R3313+ R119 (247) CONVENTIONALS/41 FOH L LADER 7 MIDSTAGE SL S4 26 575w R3313+ R119 (251) CONVENTIONALS/17 FOH R Ladder 1 DOWNSTA GE BB S4 26 575w R70 " 2 S4 36 575w (252) CONVENTIONALS/324 FOH R Ladder 3 DOWNSTA GE BB S4 36 575w R70 (255) CONVENTIONALS/317 FOH R Ladder 5 MIDSTAGE SR S4 50 575w R70 (256) CONVENTIONALS/323 FOH R Ladder 6 MIDSTAGE CS S4 36 575w R70 (257) CONVENTIONALS/318 FOH R Ladder 7 MIDSTAGE SL S4 26 575w R70 (261) CONVENTIONALS/42 FOH L LADER 4 WASH PAR 64 MFL 1kw R57 " 8 " (265) CONVENTIONALS/30 FOH R Ladder 4 WASH PAR 64 MFL 1kw A7050 " 8 " (271) CONVENTIONALS/246 DSR FLOOR MOUNT 1 SHIN Selecon Pacific 90 575w R72 (272) CONVENTIONALS/204 DSL FLOOR MOUNT 1 SHIN Selecon Pacific 90 575w R72 (281) CONVENTIONALS/228 SR BOOM 3 SHIN S4 50 575w L052 (282) CONVENTIONALS/208 SL BOOM 3 SHIN S4 50 575w L052 (291) CONVENTIONALS/230 SR BOOM 4 SHIN S4 50 575w R339 (292) CONVENTIONALS/207 SL BOOM 4 SHIN S4 50 575w R339 University of Florida School of Thetare and Dance / (245) thru (292)

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CHANNEL HOOKUP Page 10 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (301) CONVENTIONALS/227 SR BOOM 2 MID PAR 64 WFL 1kw R3208 (302) CONVENTIONALS/209 SL BOOM 2 MID PAR 64 WFL 1kw R55 (305) CONVENTIONALS/229 SR BOOM 1 MID PAR 64 WFL 1kw R3208 (306) CONVENTIONALS/210 SL BOOM 1 MID PAR 64 WFL 1kw R55 (311) CONVENTIONALS/36 SR Side Pipe 6 UNDER CAUSEWA Y PAR 64 NSP 1kw R365 (312) CONVENTIONALS/150 SL Side Pipe 6 UNDER CAUSEWA Y PAR 64 NSP 1kw R305 (321) FOH HOUSE LIGHTS HOUSE LIGHTS 60w (341) CONVENTIONALS/141 7th LX 1a Cyc Wash T3 3 Light Sky Cyc Strip 1kw R124 " 1d " " 2a " " 2d " CONVENTIONALS/185 3a " " 3d " CONVENTIONALS/188 4a " " 4d " CONVENTIONALS/185 5a " " 5d " CONVENTIONALS/191 6a " " 6d " " 7a " " 7d " University of Florida School of Thetare and Dance / (301) thru (341)

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CHANNEL HOOKUP Page 11 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (342) CONVENTIONALS/142 7th LX 1b Cyc Wash T3 3 Light Sky Cyc Strip 1kw R125 " 1e " " 2b " " 2e " CONVENTIONALS/186 3b " " 3e " CONVENTIONALS/189 4b " " 4e " CONVENTIONALS/186 5b " " 5e " CONVENTIONALS/192 6b " " 6e " " 7b " " 7e " (343) CONVENTIONALS/165 7th LX 1c Cyc Wash T3 3 Light Sky Cyc Strip 1kw R126 " 1f " " 2c " " 2f " CONVENTIONALS/187 3c " " 3f " CONVENTIONALS/190 4c " " 4f " CONVENTIONALS/187 5c " " 5f " CONVENTIONALS/193 6c " " 6f " " 7c " " 7f " (351) CONVENTIONALS/173 6th LX 1 ESCAPE A 8" Fresnel 1kw R63 " 7 " University of Florida School of Thetare and Dance / (342) thru (351)

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CHANNEL HOOKUP Page 12 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (352) CONVENTIONALS/153 4th LX 10 ESCAPE A 8" Fresnel 1kw R63 " 11 " (353) CONVENTIONALS/154 4th LX 1 ESCAPE A 8" Fresnel 1kw R63 " 2 " (371) CONVENTIONALS/3 SR Side Pipe 3 ORCH SCRAPE S4 36 575w R4915 R774 8 (372) CONVENTIONALS/166 SL Side Pipe 3 ORCH SCRAPE S4 36 575w R4915 R774 8 (381) CONVENTIONALS/11 SR Side Pipe 1 RAIN A S4 50 575w R358 1054BR (382) CONVENTIONALS/172 SL Side Pipe 1 RAIN A S4 50 575w R358 1054BR (391) CONVENTIONALS/39 SR Side Pipe 2 RAIN B S4 50 575w R362 R783 3 (392) CONVENTIONALS/167 SL Side Pipe 2 RAIN B S4 50 575w R362 R783 3 (401) MOVERS/403 1st LX 16 SCROLL 7.5" Color Scroller SCROLL SET #1 (402) MOVERS/415 2nd LX 14 SCROLL 7.5" Color Scroller SCROLL SET #1 (403) MOVERS/404 3rd LX 6 SCROLL 7.5" Color Scroller SCROLL SET #1 (404) MOVERS/405 1st LX 4 SCROLL 7.5" Color Scroller SCROLL SET #1 (405) MOVERS/411 2nd LX 3 SCROLL 7.5" Color Scroller SCROLL SET #1 (406) MOVERS/412 3rd LX 2 SCROLL 7.5" Color Scroller SCROLL SET #1 (407) MOVERS/413 1st LX 12 SCROLL 7.5" Color Scroller SCROLL SET #4 (408) MOVERS/402 1st LX 10 SCROLL 7.5" Color Scroller SCROLL SET #4 (409) MOVERS/401 1st LX 8 SCROLL 7.5" Color Scroller SCROLL SET #4 (410) MOVERS/406 APRON Pipe 10 SCROLL 7.5" Color Scroller SCROLL SET #6 University of Florida School of Thetare and Dance / (352) thru (410)

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CHANNEL HOOKUP Page 13 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (411) MOVERS/414 Island 3 2 SCROLL 7.5" Color Scroller SCROLL SET #6 (412) MOVERS/418 Island 4 1 SCROLL 7.5" Color Scroller SCROLL SET #6 (413) MOVERS/419 Island 5 3 SCROLL 7.5" Color Scroller SCROLL SET #6 (431) MOVERS/431 4th LX 12 Rotator Apollo Gobo Rotator N/C (434) MOVERS/434 1st LX 13 Rotator Apollo Gobo Rotator N/C Camo 1 (437) MOVERS/437 1st LX 7 Rotator Apollo Gobo Rotator N/C Camo 2 (441) CONVENTIONALS/156 4th LX 12 PIANO S4 50 575w R34 (465) CONVENTIONALS/71 Island 4 3 WITNESS S4 36 575w R3208 (466) CONVENTIONALS/146 3rd LX 8 SEAL SCRAPE S4 36 575w R08 G647 (468) APRON Pipe SEAL FILL S4 19 575w (471) CONVENTIONALS/111 1st LX 13 ARIAL S4 50 575w R336 (472) CONVENTIONALS/109 1st LX 7 ARIAL S4 50 575w R336 (481) Na Lift 1 LIFT BACK 3" Fresnel 100w R64 " 2 " (491) CONVENTIONALS/244 Deck UPLIGHT Q-Lite 1kw R358 (492) CONVENTIONALS/245 UNDER PLATFO RMING SR UPLIGHT Q-Lite 1kw R367 (493) CONVENTIONALS/203 UNDER PLATFO RMING SL UPLIGHT Q-Lite 1kw R367 (494) CONVENTIONALS/205 Deck UPLIGHT Q-Lite 1kw R358 (500) MOVERS/448 ISLAND 10-11 Mover Pipe 1 WASH VL2416 Wash 400w N/C University of Florida School of Thetare and Dance / (411) thru (500)

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CHANNEL HOOKUP Page 14 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (520) MOVERS/50 Island 2425 Mover Pipe 1 MOVER VL-1000 Iris 1kw L236 (540) MOVERS/100 Island 2627 Mover Pipe 1 MOVER VL-1000 Shutter 1kw L236 (560) MOVERS/150 SR Side Pipe 10 MOVER VL2201 Spot 400w N/C (580) MOVERS/300 SL Side Pipe 10 MOVER VL2201 Spot 400w N/C (620) MOVERS/350 3rd LX 7 MOVER VL 3000 Spot 1.2kw N/C (666) MOVERS/322 1st LX 11 STROBE Atomic 3000 Strobe 3kw N/C (681) CONVENTIONALS/247 Deck 2a STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R81 (682) CONVENTIONALS/248 Deck 2b STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R388 (683) CONVENTIONALS/249 Deck 2c STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R305 (684) CONVENTIONALS/250 Deck 2d STICKS SR Altmn MR-16 ZipStrip (19 EYC) 120w R27 (685) CONVENTIONALS/223 Deck 2a STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R81 (686) CONVENTIONALS/224 Deck 2b STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R388 (687) CONVENTIONALS/225 Deck 2c STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R305 (688) CONVENTIONALS/226 Deck 2d STICKS SL Altmn MR-16 ZipStrip (19 EYC) 120w R27 (701) MOVERS/4 UNDER HEX 5 HEXAGON FOOTLIGH TS Phillips iCove 12w N/C University of Florida School of Thetare and Dance / (520) thru (701)

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CHANNEL HOOKUP Page 15 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (721) MOVERS/16 UNDER HEX 4 HEXAGON FOOTLIGH TS Phillips iCove 12w N/C (741) MOVERS/13 UNDER HEX 3 HEXAGON FOOTLIGH TS Phillips iCove 12w N/C (761) MOVERS/10 UNDER HEX 2 HEXAGON FOOTLIGH TS Phillips iCove 12w N/C (781) MOVERS/7 UNDER HEX 1 HEXAGON FOOTLIGH TS Phillips iCove 12w N/C (801) CONVENTIONALS/148 LS 9 JAIL LIGHT BATTON 3 JAIL PRACTICA L Practical 300w N/C (802) CONVENTIONALS/145 LS 9 JAIL LIGHT BATTON 2 JAIL PRACTICA L Practical 300w N/C (803) CONVENTIONALS/144 LS 9 JAIL LIGHT BATTON 1 JAIL PRACTICA L Practical 300w N/C (821) CONVENTIONALS/127 2nd LX 13 BACK A S4 36 575w G872 (822) CONVENTIONALS/130 2nd LX 10 BACK A S4 36 575w G872 (823) CONVENTIONALS/128 2nd LX 8 BACK A S4 36 575w G872 (824) CONVENTIONALS/124 2nd LX 6 BACK A S4 36 575w G872 (825) CONVENTIONALS/120 2nd LX 2 BACK A S4 36 575w G872 (841) CONVENTIONALS/179 6th LX 3 Band Texture S4 70 575w R34 R784 05 " 5 " " (851) CONVENTIONALS/178 6th LX 2 BAND A 8" Fresnel 1kw R80 " 6 " (852) CONVENTIONALS/182 6th LX 4 BAND A 8" Fresnel 1kw R80 (853) CONVENTIONALS/163 5th LX 4 BAND B 8" Fresnel 1kw R80 " 5 " University of Florida School of Thetare and Dance / (721) thru (853)

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CHANNEL HOOKUP Page 16 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (901) CONVENTIONALS/131 2nd LX 12 BACK B S4 36 575w R362 2051AR (902) CONVENTIONALS/129 2nd LX 9 BACK B S4 36 575w R362 2051AR (903) CONVENTIONALS/126 2nd LX 7 BACK B S4 36 575w R362 2051AR (904) CONVENTIONALS/123 2nd LX 5 BACK B S4 36 575w R362 2051AR (905) CONVENTIONALS/119 2nd LX 1 BACK B S4 36 575w R362 2051AR (911) CONVENTIONALS/139 3rd LX 5 TEXTURE TOP S4 50 575w R06 R772 04 (912) CONVENTIONALS/136 3rd LX 4 TEXTURE TOP S4 50 575w R06 R772 04 (913) CONVENTIONALS/134 3rd LX 3 TEXTURE TOP S4 50 575w R06 R772 04 (951) CONVENTIONALS/214 Footlight Trough 10 FOOTLIGH T MR-16 Birdie 12w N/C " 11 " " 12 " " 13 " (952) CONVENTIONALS/213 Footlight Trough 7 FOOTLIGH T MR-16 Birdie 12w N/C " 8 " " 9 " (953) CONVENTIONALS/211 Footlight Trough 3 FOOTLIGH T MR-16 Birdie 12w N/C " 4 " " 5 " " 6 " (954) CONVENTIONALS/212 Footlight Trough 1 FOOTLIGH T 3" Fresnel 100w R3313 " 15 " (961) MOVERS/230 DS FOOTLIG HT TROUGH 14 FLASHBUL BS Chauvet Strobe N/C University of Florida School of Thetare and Dance / (901) thru (961)

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CHANNEL HOOKUP Page 17 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (971) MOVERS/233 DS FOOTLIG HT TROUGH 2 FLASHBUL BS Chauvet Strobe N/C (1010) CONVENTIONALS/143 LS 1 1 Roxie and Velma Sign Lightbox N/C (1021) CONVENTIONALS/184 LS 18 5 Roxie "R" Bare A Lamps N/C (1022) CONVENTIONALS/180 LS 18 4 Roxie "O" Bare A Lamps N/C (1023) CONVENTIONALS/177 LS 18 3 Roxie "X" Bare A Lamps N/C (1024) CONVENTIONALS/183 LS 18 2 Roxie "I" Bare A Lamps N/C (1025) CONVENTIONALS/181 LS 18 1 Roxie "E" Bare A Lamps N/C (1031) CONVENTIONALS/98 LS 2 10 Light Curtain Panel A GOW Xmas Lights N/C (1032) CONVENTIONALS/94 LS 2 9 Light Curtain Panel B GOW Xmas Lights N/C (1033) CONVENTIONALS/101 LS 2 8 Light Curtain Panel C GOW Xmas Lights N/C (1034) CONVENTIONALS/99 LS 2 7 Light Curtain Panel D GOW Xmas Lights N/C (1035) CONVENTIONALS/100 LS 2 6 Light Curtain Panel E GOW Xmas Lights N/C (1036) CONVENTIONALS/96 LS 2 5 Light Curtain Panel F GOW Xmas Lights N/C (1037) CONVENTIONALS/95 LS 2 4 Light Curtain Panel G GOW Xmas Lights N/C (1038) CONVENTIONALS/102 LS 2 3 Light Curtain Panel H GOW Xmas Lights N/C (1039) CONVENTIONALS/97 LS 2 2 Light Curtain Panel I GOW Xmas Lights N/C University of Florida School of Thetare and Dance / (971) thru (1039)

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CHANNEL HOOKUP Page 18 of 19 ChicagoNov14 11/14/11 Chicago Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (1040) CONVENTIONALS/103 LS 2 1 Light Curtain Panel J GOW Xmas Lights N/C (1101) ON HEXAGO N 1 LED Rivet Bottom LED 12w N/C (1102) CONVENTIONALS/216 ON HEXAGO N LED Rivet Horizontal Strip LED 12w CONVENTIONALS/215 1 " N/C (1103) CONVENTIONALS/217 ON HEXAGO N LED Rivet Horizontal Strip LED 12w CONVENTIONALS/241 1 " N/C (1104) CONVENTIONALS/242 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1105) CONVENTIONALS/243 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1106) CONVENTIONALS/215 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1107) CONVENTIONALS/217 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1108) CONVENTIONALS/218 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1109) CONVENTIONALS/219 ON HEXAGO N 1 LED Rivet Vertical Strip LED 12w N/C (1200) CONVENTIONALS/52 ISLAND 11 1 ROXIE "MY OWN BEST FRIEND" S4 19 575w R3206 (1201) CONVENTIONALS/24 ISLAND 10 2 VELMA "MY OWN BEST FRIEND" S4 19 575w R3206 University of Florida School of Thetare and Dance / (1040) thru (1201)

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CHANNEL HOOKUP Page 19 of 19 ChicagoNov14 11/14/11 Chicago LETTERED Channel Channel Dimmer Position U# Purpose Type & Acc & W Color Gobo (Nd) Nd Island 30 Spot Booth 1 SPOT Midget 2k Follow Spot 2kw SEE BAYONE T Island 37 Spot Booth " " University of Florida School of Thetare and Dance / (Nd)

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INSTRUMENT TYPE STOCK COUNT Page 1 of 2 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye INSTRUMENT TYPE STOCK COUNT In Use In Stock Remaining Short S4 19 15 15 S4 26 41 42 1 S4 36 43 35 8 S4 50 36 31 5 S4 70 2 2 Selecon Pacific 90 2 2 3" Fresnel 4 2 2 6" Fresnel 5 5 8" Fresnel 16 8 8 S4 PAR MFL 12 12 S4 PAR WFL 3 3 S4 PARnel 20 24 4 PAR 64 NSP 8 8 PAR 64 MFL 4 4 PAR 64 WFL 8 8 Atomic 3000 Strobe 1 1 T3 3 Light Sky Cyc Strip 42 42 Altmn MR-16 ZipStrip (19 EYC) 4 4 Altmn MR-16 ZipStrip (36 EYC) 10" Scoop 5 5 Q-Lite 4 4 Phillips iCove 5 8 3 Practical 3 3 7.5" Color Scroller 13 15 2 Apollo Gobo Rotator 3 3 Midget 2k Follow Spot 2 2 Chauvet Strobe 2 2 University of Florida School of Thetare and Dance /

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INSTRUMENT TYPE STOCK COUNT Page 2 of 2 ChicagoNov14 11/14/11 Chicago In Use In Stock Remaining Short Lightbox 1 1 Bare A Lamps 5 5 GOW Xmas Lights 10 10 LED 3 3 7.5" Forerunner MR-16 Birdie 11 11 HOUSE LIGHTS 1 1 VL-1000 Shutter 1 1 VL-1000 Iris 1 1 VL2416 Wash 1 1 VL 3000 Spot 1 2 1 VL2201 Spot 2 2 University of Florida School of Thetare and Dance /

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COLOR SCHEDULE ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye TABLE OF CONTENTS A7050 .................................................. 1 R63 ...................................................... 20 G872 .................................................... 1 R64 ...................................................... 20 L052 .................................................... 1 R66 ...................................................... 20 L127 .................................................... 1 R70 ...................................................... 20 L236 .................................................... 2 R72 ...................................................... 21 L716 .................................................... 2 R79 ...................................................... 21 N/C ...................................................... 3 R81 ...................................................... 21 R06 ...................................................... 7 SCROLL SET #1 ..................................... 22 R08 ...................................................... 8 SCROLL SET #4 ..................................... 23 R124 .................................................... 8 SCROLL SET #6 ..................................... 23 R125 .................................................... 10 SEE BAYONET ....................................... 24 R126 .................................................... 12 R39 ...................................................... 24 R305 .................................................... 13 R3407 .................................................. 24 R3202 .................................................. 14 R27 ...................................................... 25 R3204 .................................................. 15 A3850 .................................................. 25 R3206 .................................................. 15 G885 + R132 ....................................... 26 R3208 .................................................. 16 R55 + R132 ......................................... 26 R3313 .................................................. 16 R358 .................................................... 27 R333 .................................................... 16 G842+R119 ......................................... 27 R336 .................................................... 17 R3208+R132 ....................................... 28 R339 .................................................... 17 R3313+R119 ....................................... 28 R34 ...................................................... 17 R337 .................................................... 28 R349 .................................................... 17 R78 ...................................................... 28 R362 .................................................... 18 R81+HS ............................................... 29 R365 .................................................... 18 R79+HS ............................................... 29 R388 .................................................... 19 R79+R119 ........................................... 29 R4915 .................................................. 19 R367 .................................................... 29 R55 ...................................................... 19 R80 ...................................................... 30 R57 ...................................................... 19 R68 ...................................................... 30

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COLOR SCHEDULE Page 1 of 30 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye A7050 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH R Ladder 4 PAR 64 MFL 1kw WASH CONVENTIONALS/30 (265) FOH R Ladder 8 PAR 64 MFL 1kw WASH CONVENTIONALS/30 (265) G872 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 2nd LX 2 S4 36 575w BACK A CONVENTIONALS/120 (825) 2nd LX 6 S4 36 575w BACK A CONVENTIONALS/124 (824) 2nd LX 8 S4 36 575w BACK A CONVENTIONALS/128 (823) 2nd LX 10 S4 36 575w BACK A CONVENTIONALS/130 (822) 2nd LX 13 S4 36 575w BACK A CONVENTIONALS/127 (821) L052 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL BOOM 3 S4 50 575w SHIN CONVENTIONALS/208 (282) SR BOOM 3 S4 50 575w SHIN CONVENTIONALS/228 (281) L127 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ROH LEFT 1 S4 26 750w F/F SL CONVENTIONALS/309 (84) ROH LEFT 3 S4 26 750w F/F STAIRS CONVENTIONALS/16 (85) ROH LEFT 4 S4 26 750w F/F CS CONVENTIONALS/304 (83) ROH LEFT 5 S4 26 750w F/F STAIRS CONVENTIONALS/303 (81) ROH LEFT 6 S4 26 750w F/F SR CONVENTIONALS/13 (82) University of Florida School of Thetare and Dance / A7050 thru L127

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COLOR SCHEDULE Page 2 of 30 ChicagoNov14 11/14/11 Chicago L236 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 24-25 Mover Pipe 1 VL-1000 Iris 1kw MOVER MOVERS/50 (520) Island 26-27 Mover Pipe 1 VL-1000 Shutter 1kw MOVER MOVERS/100 (540) L716 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ROH RIGHT 1 S4 26 750w F/F SL CONVENTIONALS/32 (94) ROH RIGHT 2 S4 26 750w F/F STAIRS CONVENTIONALS/322 (95) ROH RIGHT 3 S4 26 750w F/F CS CONVENTIONALS/321 (93) ROH RIGHT 4 S4 26 750w F/F STAIRS CONVENTIONALS/316 (91) ROH RIGHT 6 S4 26 750w F/F SR CONVENTIONALS/22 (92) University of Florida School of Thetare and Dance / L236 thru L716

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COLOR SCHEDULE Page 3 of 30 ChicagoNov14 11/14/11 Chicago N/C Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ROH LEFT 2 S4 26 750w TEXTURE WASH CONVENTIONALS/310 (98) R770 12 ROH RIGHT 5 S4 26 750w TEXTURE WASH CONVENTIONALS/315 (99) R770 12 ISLAND 10-11 Mover Pipe 1 VL2416 Wash 400w WASH MOVERS/448 (500) SL Side Pipe 10 VL2201 Spot 400w MOVER MOVERS/300 (580) SR Side Pipe 10 VL2201 Spot 400w MOVER MOVERS/150 (560) 1st LX 7 Apollo Gobo Rotator Rotator MOVERS/437 (437) Camo 2 1st LX 11 Atomic 3000 Strobe 3kw STROBE MOVERS/322 (666) 1st LX 13 Apollo Gobo Rotator Rotator MOVERS/434 (434) Camo 1 3rd LX 7 VL 3000 Spot 1.2kw MOVER MOVERS/350 (620) 4th LX 12 Apollo Gobo Rotator Rotator MOVERS/431 (431) UNDER HEX 1 Phillips iCove 12w HEXAGON FOOTLIGH TS MOVERS/7 (781) UNDER HEX 2 Phillips iCove 12w HEXAGON FOOTLIGH TS MOVERS/10 (761) UNDER HEX 3 Phillips iCove 12w HEXAGON FOOTLIGH TS MOVERS/13 (741) UNDER HEX 4 Phillips iCove 12w HEXAGON FOOTLIGH TS MOVERS/16 (721) University of Florida School of Thetare and Dance / N/C

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COLOR SCHEDULE Page 4 of 30 ChicagoNov14 11/14/11 Chicago N/C Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz UNDER HEX 5 Phillips iCove 12w HEXAGON FOOTLIGH TS MOVERS/4 (701) Footlight Trough 3 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/211 (953) Footlight Trough 4 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/211 (953) Footlight Trough 5 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/211 (953) Footlight Trough 6 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/211 (953) Footlight Trough 7 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/213 (952) Footlight Trough 8 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/213 (952) Footlight Trough 9 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/213 (952) Footlight Trough 10 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/214 (951) Footlight Trough 11 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/214 (951) Footlight Trough 12 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/214 (951) Footlight Trough 13 MR-16 Birdie 12w FOOTLIGH T CONVENTIONALS/214 (951) LS 9 JAIL LIGHT BATTON 1 Practical 300w JAIL PRACTICA L CONVENTIONALS/144 (803) LS 9 JAIL LIGHT BATTON 2 Practical 300w JAIL PRACTICA L CONVENTIONALS/145 (802) LS 9 JAIL LIGHT BATTON 3 Practical 300w JAIL PRACTICA L CONVENTIONALS/148 (801) University of Florida School of Thetare and Dance / N/C

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COLOR SCHEDULE Page 5 of 30 ChicagoNov14 11/14/11 Chicago N/C Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz DS FOOTLIG HT TROUGH 2 Chauvet Strobe FLASHBUL BS MOVERS/233 (971) DS FOOTLIG HT TROUGH 14 Chauvet Strobe FLASHBUL BS MOVERS/230 (961) LS 1 1 Lightbox Roxie and Velma Sign CONVENTIONALS/143 (1010) LS 18 1 Bare A Lamps Roxie "E" CONVENTIONALS/181 (1025) LS 18 2 Bare A Lamps Roxie "I" CONVENTIONALS/183 (1024) LS 18 3 Bare A Lamps Roxie "X" CONVENTIONALS/177 (1023) LS 18 4 Bare A Lamps Roxie "O" CONVENTIONALS/180 (1022) LS 18 5 Bare A Lamps Roxie "R" CONVENTIONALS/184 (1021) LS 2 1 GOW Xmas Lights Light Curtain Panel J CONVENTIONALS/103 (1040) LS 2 2 GOW Xmas Lights Light Curtain Panel I CONVENTIONALS/97 (1039) LS 2 3 GOW Xmas Lights Light Curtain Panel H CONVENTIONALS/102 (1038) LS 2 4 GOW Xmas Lights Light Curtain Panel G CONVENTIONALS/95 (1037) LS 2 5 GOW Xmas Lights Light Curtain Panel F CONVENTIONALS/96 (1036) University of Florida School of Thetare and Dance / N/C

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COLOR SCHEDULE Page 6 of 30 ChicagoNov14 11/14/11 Chicago N/C Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz LS 2 6 GOW Xmas Lights Light Curtain Panel E CONVENTIONALS/100 (1035) LS 2 7 GOW Xmas Lights Light Curtain Panel D CONVENTIONALS/99 (1034) LS 2 8 GOW Xmas Lights Light Curtain Panel C CONVENTIONALS/101 (1033) LS 2 9 GOW Xmas Lights Light Curtain Panel B CONVENTIONALS/94 (1032) LS 2 10 GOW Xmas Lights Light Curtain Panel A CONVENTIONALS/98 (1031) University of Florida School of Thetare and Dance / N/C

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COLOR SCHEDULE Page 7 of 30 ChicagoNov14 11/14/11 Chicago N/C Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ON HEXAGO N 1 LED 12w LED Rivet Bottom (1101) ON HEXAGO N 1 LED 12w LED Rivet Horizontal Strip CONVENTIONALS/215 (1102) ON HEXAGO N 1 LED 12w LED Rivet Horizontal Strip CONVENTIONALS/241 (1103) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/242 (1104) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/243 (1105) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/215 (1106) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/217 (1107) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/218 (1108) ON HEXAGO N 1 LED 12w LED Rivet Vertical Strip CONVENTIONALS/219 (1109) R06 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 3rd LX 3 S4 50 575w TEXTURE TOP CONVENTIONALS/134 (913) R772 04 3rd LX 4 S4 50 575w TEXTURE TOP CONVENTIONALS/136 (912) R772 04 3rd LX 5 S4 50 575w TEXTURE TOP CONVENTIONALS/139 (911) R772 04 University of Florida School of Thetare and Dance / N/C thru R06

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COLOR SCHEDULE Page 8 of 30 ChicagoNov14 11/14/11 Chicago R08 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 3rd LX 8 S4 36 575w SEAL SCRAPE CONVENTIONALS/146 (466) G647 R124 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 1a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/141 (341) 7th LX 1d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/141 (341) 7th LX 2a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/141 (341) 7th LX 2d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/141 (341) 7th LX 3a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/185 (341) 7th LX 3d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/185 (341) 7th LX 4a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/188 (341) 7th LX 4d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/188 (341) 7th LX 5a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/185 (341) 7th LX 5d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/185 (341) 7th LX 6a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/191 (341) University of Florida School of Thetare and Dance / R08 thru R124

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COLOR SCHEDULE Page 9 of 30 ChicagoNov14 11/14/11 Chicago R124 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 6d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/191 (341) 7th LX 7a T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/191 (341) 7th LX 7d T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/191 (341) University of Florida School of Thetare and Dance / R124

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COLOR SCHEDULE Page 10 of 30 ChicagoNov14 11/14/11 Chicago R125 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 1b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/142 (342) 7th LX 1e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/142 (342) 7th LX 2b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/142 (342) 7th LX 2e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/142 (342) 7th LX 3b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/186 (342) 7th LX 3e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/186 (342) 7th LX 4b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/189 (342) 7th LX 4e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/189 (342) 7th LX 5b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/186 (342) 7th LX 5e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/186 (342) 7th LX 6b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/192 (342) 7th LX 6e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/192 (342) University of Florida School of Thetare and Dance / R125

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COLOR SCHEDULE Page 11 of 30 ChicagoNov14 11/14/11 Chicago R125 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 7b T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/192 (342) 7th LX 7e T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/192 (342) University of Florida School of Thetare and Dance / R125

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COLOR SCHEDULE Page 12 of 30 ChicagoNov14 11/14/11 Chicago R126 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 1c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/165 (343) 7th LX 1f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/165 (343) 7th LX 2c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/165 (343) 7th LX 2f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/165 (343) 7th LX 3c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/187 (343) 7th LX 3f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/187 (343) 7th LX 4c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/190 (343) 7th LX 4f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/190 (343) 7th LX 5c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/187 (343) 7th LX 5f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/187 (343) 7th LX 6c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/193 (343) 7th LX 6f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/193 (343) University of Florida School of Thetare and Dance / R126

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COLOR SCHEDULE Page 13 of 30 ChicagoNov14 11/14/11 Chicago R126 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 7th LX 7c T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/193 (343) 7th LX 7f T3 3 Light Sky Cyc Strip 1kw Cyc Wash CONVENTIONALS/193 (343) R305 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL Side Pipe 6 PAR 64 NSP 1kw UNDER CAUSEWA Y CONVENTIONALS/150 (312) Deck 2c Altmn MR16 ZipStrip (19 EYC) 120w STICKS SR CONVENTIONALS/249 (683) Deck 2c Altmn MR16 ZipStrip (19 EYC) 120w STICKS SL CONVENTIONALS/225 (687) University of Florida School of Thetare and Dance / R126 thru R305

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COLOR SCHEDULE Page 14 of 30 ChicagoNov14 11/14/11 Chicago R3202 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 2 3 S4 19 575w TIGHT TOP DSR CONVENTIONALS/28 (161) Island 3 1 S4 19 575w TIGHT TOP DSC CONVENTIONALS/66 (163) Island 3 3 S4 19 575w TIGHT TOP CBT SR CONVENTIONALS/51 (162) 2012 -BR Island 4 4 S4 19 575w TIGHT TOP CBT CS CONVENTIONALS/64 (164) 2012 -BR Island 5 4 S4 19 575w TIGHT TOP DSL CONVENTIONALS/48 (165) Island 13 2 S4 19 575w TIGHT TOP CBT SL CONVENTIONALS/46 (166) 2012 -BR APRON Pipe 6 S4 19 575w TIGHT TOP CONVENTIONALS/76 (157) APRON Pipe 11 S4 19 575w TIGHT TOP CONVENTIONALS/81 (156) APRON Pipe 14 S4 19 575w TIGHT TOP CONVENTIONALS/83 (155) 1st LX 6 S4 19 575w TIGHT TOP CONVENTIONALS/104 (153) 1st LX 9 S4 19 575w TIGHT TOP (BED) CONVENTIONALS/107 (152) 1st LX 14 S4 19 575w TIGHT TOP CONVENTIONALS/112 (151) 2nd LX 4 PAR 64 WFL 1kw B/L C CONVENTIONALS/122 (195) 2nd LX 11 PAR 64 WFL 1kw B/L C CONVENTIONALS/132 (191) 4th LX 5 PAR 64 WFL 1kw B/L C CONVENTIONALS/157 (196) 4th LX 7 PAR 64 WFL 1kw B/L C CONVENTIONALS/160 (192) University of Florida School of Thetare and Dance / R3202

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COLOR SCHEDULE Page 15 of 30 ChicagoNov14 11/14/11 Chicago R3204 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 5 2 S4 36 575w H/S B CONVENTIONALS/62 (72) R775 02 Island 5 5 S4 26 575w H/S A CONVENTIONALS/47 (71) R775 03 Island 14 2 S4 50 575w H/S B CONVENTIONALS/43 (73) R775 03 APRON Pipe 2 S4 50 575w H/S B CONVENTIONALS/73 (76) R775 03 APRON Pipe 4 S4 36 575w H/S B CONVENTIONALS/75 (75) R775 02 APRON Pipe 7 S4 26 575w H/S B CONVENTIONALS/77 (74) R775 03 R3206 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ISLAND 10 2 S4 19 575w VELMA "MY OWN BEST FRIEND" CONVENTIONALS/24 (1201) ISLAND 11 1 S4 19 575w ROXIE "MY OWN BEST FRIEND" CONVENTIONALS/52 (1200) University of Florida School of Thetare and Dance / R3204 thru R3206

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COLOR SCHEDULE Page 16 of 30 ChicagoNov14 11/14/11 Chicago R3208 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 4 3 S4 36 575w WITNESS CONVENTIONALS/71 (465) SL Side Pipe 4 PAR 64 NSP 1kw S/L C CONVENTIONALS/152 (106) SL Side Pipe 8 PAR 64 NSP 1kw S/L C CONVENTIONALS/138 (105) SL Side Pipe 11 PAR 64 NSP 1kw S/L C CONVENTIONALS/29 (104) SR Side Pipe 4 PAR 64 NSP 1kw S/L C CONVENTIONALS/12 (103) SR Side Pipe 8 PAR 64 NSP 1kw S/L C CONVENTIONALS/8 (102) SR Side Pipe 11 PAR 64 NSP 1kw S/L C CONVENTIONALS/236 (101) SR BOOM 1 PAR 64 WFL 1kw MID CONVENTIONALS/229 (305) SR BOOM 2 PAR 64 WFL 1kw MID CONVENTIONALS/227 (301) R3313 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH L LADER 1 S4 26 575w DOWNSTA GE BB CONVENTIONALS/306 (241) FOH L LADER 2 S4 36 575w DOWNSTA GE BB CONVENTIONALS/306 (241) FOH L LADER 3 S4 36 575w DOWNSTA GE BB CONVENTIONALS/311 (242) Footlight Trough 1 3" Fresnel 100w FOOTLIGH T CONVENTIONALS/212 (954) Footlight Trough 15 3" Fresnel 100w FOOTLIGH T CONVENTIONALS/212 (954) R333 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 18 S4 36 575w H/S A CONVENTIONALS/118 (68) G557 University of Florida School of Thetare and Dance / R3208 thru R333

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COLOR SCHEDULE Page 17 of 30 ChicagoNov14 11/14/11 Chicago R336 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 7 S4 50 575w ARIAL CONVENTIONALS/109 (472) 1st LX 13 S4 50 575w ARIAL CONVENTIONALS/111 (471) 1st LX 17 S4 26 575w H/S A CONVENTIONALS/116 (69) R339 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL BOOM 4 S4 50 575w SHIN CONVENTIONALS/207 (292) SR BOOM 4 S4 50 575w SHIN CONVENTIONALS/230 (291) R34 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 4th LX 12 S4 50 575w PIANO CONVENTIONALS/156 (441) 6th LX 3 S4 70 575w Band Texture CONVENTIONALS/179 (841) R784 05 6th LX 5 S4 70 575w Band Texture CONVENTIONALS/179 (841) R784 05 R349 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL Side Pipe 5 S4 50 575w S/L B CONVENTIONALS/149 (116) SL Side Pipe 9 S4 50 575w S/L B CONVENTIONALS/137 (115) SL Side Pipe 12 S4 50 575w S/L B CONVENTIONALS/4 (114) SR Side Pipe 5 S4 50 575w S/L B CONVENTIONALS/7 (113) SR Side Pipe 9 S4 50 575w S/L B CONVENTIONALS/235 (112) SR Side Pipe 12 S4 50 575w S/L B CONVENTIONALS/237 (111) University of Florida School of Thetare and Dance / R336 thru R349

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COLOR SCHEDULE Page 18 of 30 ChicagoNov14 11/14/11 Chicago R362 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 33 1 S4 50 750w F/L ABOVE CONVENTIONALS/9 (33) 1028 -BR SL Side Pipe 2 S4 50 575w RAIN B CONVENTIONALS/167 (392) R783 3 SR Side Pipe 2 S4 50 575w RAIN B CONVENTIONALS/39 (391) R783 3 2nd LX 1 S4 36 575w BACK B CONVENTIONALS/119 (905) 2051 -AR 2nd LX 5 S4 36 575w BACK B CONVENTIONALS/123 (904) 2051 -AR 2nd LX 7 S4 36 575w BACK B CONVENTIONALS/126 (903) 2051 -AR 2nd LX 9 S4 36 575w BACK B CONVENTIONALS/129 (902) 2051 -AR 2nd LX 12 S4 36 575w BACK B CONVENTIONALS/131 (901) 2051 -AR R365 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SR Side Pipe 6 PAR 64 NSP 1kw UNDER CAUSEWA Y CONVENTIONALS/36 (311) 4th LX 3 8" Fresnel 1kw DOWN CONVENTIONALS/155 (173) 4th LX 4 8" Fresnel 1kw DOWN CONVENTIONALS/155 (173) 4th LX 6 8" Fresnel 1kw DOWN CONVENTIONALS/158 (172) 4th LX 8 8" Fresnel 1kw DOWN CONVENTIONALS/159 (171) 4th LX 9 8" Fresnel 1kw DOWN CONVENTIONALS/159 (171) University of Florida School of Thetare and Dance / R362 thru R365

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COLOR SCHEDULE Page 19 of 30 ChicagoNov14 11/14/11 Chicago R388 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Deck 2b Altmn MR16 ZipStrip (19 EYC) 120w STICKS SR CONVENTIONALS/248 (682) Deck 2b Altmn MR16 ZipStrip (19 EYC) 120w STICKS SL CONVENTIONALS/224 (686) R4915 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL Side Pipe 3 S4 36 575w ORCH SCRAPE CONVENTIONALS/166 (372) R774 8 SR Side Pipe 3 S4 36 575w ORCH SCRAPE CONVENTIONALS/3 (371) R774 8 R55 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL BOOM 1 PAR 64 WFL 1kw MID CONVENTIONALS/210 (306) SL BOOM 2 PAR 64 WFL 1kw MID CONVENTIONALS/209 (302) R57 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH L LADER 4 PAR 64 MFL 1kw WASH CONVENTIONALS/42 (261) FOH L LADER 8 PAR 64 MFL 1kw WASH CONVENTIONALS/42 (261) University of Florida School of Thetare and Dance / R388 thru R57

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COLOR SCHEDULE Page 20 of 30 ChicagoNov14 11/14/11 Chicago R63 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 4th LX 1 8" Fresnel 1kw ESCAPE A CONVENTIONALS/154 (353) 4th LX 2 8" Fresnel 1kw ESCAPE A CONVENTIONALS/154 (353) 4th LX 10 8" Fresnel 1kw ESCAPE A CONVENTIONALS/153 (352) 4th LX 11 8" Fresnel 1kw ESCAPE A CONVENTIONALS/153 (352) 6th LX 1 8" Fresnel 1kw ESCAPE A CONVENTIONALS/173 (351) 6th LX 7 8" Fresnel 1kw ESCAPE A CONVENTIONALS/173 (351) R64 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Lift 1 3" Fresnel 100w LIFT BACK Na (481) Lift 2 3" Fresnel 100w LIFT BACK Na (481) R66 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 19 2 S4 50 575w F/L CONVENTIONALS/34 (14) G548 1st LX 2 S4 36 575w H/S B CONVENTIONALS/90 (78) R766 01 R70 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH R Ladder 1 S4 26 575w DOWNSTA GE BB CONVENTIONALS/17 (251) FOH R Ladder 2 S4 36 575w DOWNSTA GE BB CONVENTIONALS/17 (251) FOH R Ladder 3 S4 36 575w DOWNSTA GE BB CONVENTIONALS/324 (252) FOH R Ladder 5 S4 50 575w MIDSTAGE SR CONVENTIONALS/317 (255) FOH R Ladder 6 S4 36 575w MIDSTAGE CS CONVENTIONALS/323 (256) FOH R Ladder 7 S4 26 575w MIDSTAGE SL CONVENTIONALS/318 (257) University of Florida School of Thetare and Dance / R63 thru R70

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COLOR SCHEDULE Page 21 of 30 ChicagoNov14 11/14/11 Chicago R72 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz DSL FLOOR MOUNT 1 Selecon Pacific 90 575w SHIN CONVENTIONALS/204 (272) DSR FLOOR MOUNT 1 Selecon Pacific 90 575w SHIN CONVENTIONALS/246 (271) R79 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 2 2 S4 PARnel 575w DS TOPLIGHT CONVENTIONALS/57 (145) Island 8 1 S4 PARnel 575w DS TOPLIGHT CONVENTIONALS/57 (145) Island 21 1 S4 PARnel 575w DOWN CONVENTIONALS/45 (146) 1st LX 5 S4 PARnel 575w HEX TOPLIGHT CONVENTIONALS/93 (142) R81 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Deck 2a Altmn MR16 ZipStrip (19 EYC) 120w STICKS SR CONVENTIONALS/247 (681) Deck 2a Altmn MR16 ZipStrip (19 EYC) 120w STICKS SL CONVENTIONALS/223 (685) University of Florida School of Thetare and Dance / R72 thru R81

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COLOR SCHEDULE Page 22 of 30 ChicagoNov14 11/14/11 Chicago SCROLL SET #1 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 4 S4 PARnel 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/92 (125) 1st LX 4 7.5" Color Scroller SCROLL MOVERS/405 (404) 1st LX 16 S4 PARnel 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/115 (121) 1st LX 16 7.5" Color Scroller SCROLL MOVERS/403 (401) 2nd LX 3 S4 PARnel 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/121 (126) 2nd LX 3 7.5" Color Scroller SCROLL MOVERS/411 (405) 2nd LX 14 S4 PARnel 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/133 (122) 2nd LX 14 7.5" Color Scroller SCROLL MOVERS/415 (402) 3rd LX 2 S4 PAR WFL 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/135 (127) 3rd LX 2 7.5" Color Scroller SCROLL MOVERS/412 (406) 3rd LX 6 S4 PAR WFL 575w ABOVE CROSSOVE R SCROLLER CONVENTIONALS/140 (123) 3rd LX 6 7.5" Color Scroller SCROLL MOVERS/404 (403) University of Florida School of Thetare and Dance / SCROLL SET #1

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COLOR SCHEDULE Page 23 of 30 ChicagoNov14 11/14/11 Chicago SCROLL SET #4 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 8 S4 PAR MFL 575w HEXAGON SCROLLER CONVENTIONALS/106 (133) 1st LX 8 7.5" Color Scroller SCROLL MOVERS/401 (409) 1st LX 10 S4 PAR MFL 575w HEXAGON SCROLLER CONVENTIONALS/108 (132) 1st LX 10 7.5" Color Scroller SCROLL MOVERS/402 (408) 1st LX 12 S4 PAR MFL 575w HEXAGON SCROLLER CONVENTIONALS/110 (131) 1st LX 12 7.5" Color Scroller SCROLL MOVERS/413 (407) SCROLL SET #6 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 3 2 S4 PAR MFL 575w DS SCROLLER CONVENTIONALS/54 (135) Island 3 2 7.5" Color Scroller SCROLL MOVERS/414 (411) Island 4 1 S4 PARnel 575w DS SCROLLER CONVENTIONALS/63 (136) Island 4 1 7.5" Color Scroller SCROLL MOVERS/418 (412) Island 5 3 S4 PAR MFL 575w DS SCROLLER CONVENTIONALS/72 (137) Island 5 3 7.5" Color Scroller SCROLL MOVERS/419 (413) APRON Pipe 10 S4 PAR MFL 575w DS SCROLLER CONVENTIONALS/80 (134) APRON Pipe 10 7.5" Color Scroller SCROLL MOVERS/406 (410) University of Florida School of Thetare and Dance / SCROLL SET #4 thru SCROLL SET #6

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COLOR SCHEDULE Page 24 of 30 ChicagoNov14 11/14/11 Chicago SEE BAYONET Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 30 Spot Booth 1 Midget 2k Follow Spot 2kw SPOT Nd (Nd) Island 37 Spot Booth 1 Midget 2k Follow Spot 2kw SPOT Nd (Nd) R39 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 2 4 S4 26 575w H/S A CONVENTIONALS/67 (63) Island 7 1 S4 50 575w H/S A CONVENTIONALS/58 (61) Island 8 2 S4 36 575w H/S A CONVENTIONALS/55 (62) APRON Pipe 16 S4 26 575w H/S A CONVENTIONALS/85 (66) APRON Pipe 17 S4 36 575w H/S A CONVENTIONALS/87 (65) APRON Pipe 19 S4 50 575w H/S A CONVENTIONALS/88 (64) R3407 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 19 S4 36 575w H/S A CONVENTIONALS/117 (67) 6020 -AR University of Florida School of Thetare and Dance / SEE BAYONET thru R3407

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COLOR SCHEDULE Page 25 of 30 ChicagoNov14 11/14/11 Chicago R27 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 1 1 S4 PARnel 575w SET B CONVENTIONALS/70 (221) Island 1 2 S4 PARnel 575w SET B CONVENTIONALS/70 (221) Island 2 5 S4 PAR WFL 575w SET B CONVENTIONALS/56 (222) Island 6 3 S4 PARnel 575w SET B CONVENTIONALS/44 (226) Island 14 1 S4 PARnel 575w SET B CONVENTIONALS/59 (225) Island 14 3 S4 PARnel 575w SET B CONVENTIONALS/59 (225) Deck 2d Altmn MR16 ZipStrip (19 EYC) 120w STICKS SR CONVENTIONALS/250 (684) Deck 2d Altmn MR16 ZipStrip (19 EYC) 120w STICKS SL CONVENTIONALS/226 (688) A3850 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 6 1 S4 PARnel 575w SET A CONVENTIONALS/60 (215) Island 6 2 S4 PARnel 575w SET A CONVENTIONALS/60 (215) Island 7 3 S4 PARnel 575w SET A CONVENTIONALS/69 (211) Island 7 4 S4 PARnel 575w SET A CONVENTIONALS/69 (211) APRON Pipe 3 S4 PARnel 575w SET A CONVENTIONALS/74 (216) APRON Pipe 18 S4 PARnel 575w SET A CONVENTIONALS/86 (212) University of Florida School of Thetare and Dance / R27 thru A3850

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COLOR SCHEDULE Page 26 of 30 ChicagoNov14 11/14/11 Chicago G885 + R132 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz ISLAND 11 1 S4 50 575w F/L CONVENTIONALS/50 (13) Island 16 1 S4 50 575w F/L CONVENTIONALS/53 (11) Island 17 2 S4 36 575w F/L CONVENTIONALS/38 (7) Island 18 1 S4 36 575w F/L CONVENTIONALS/35 (8) Island 19 1 S4 36 575w F/L CONVENTIONALS/33 (9) Island 20 3 S4 50 575w F/L CONVENTIONALS/31 (15) Island 24 1 S4 36 575w F/L CONVENTIONALS/25 (6) Island 24 2 S4 26 575w F/L CONVENTIONALS/26 (1) Island 25 1 S4 26 575w F/L CONVENTIONALS/23 (2) Island 26 1 S4 26 575w F/L CONVENTIONALS/6 (4) Island 26 2 S4 26 575w F/L CONVENTIONALS/21 (3) Island 27 2 S4 26 575w F/L CONVENTIONALS/18 (5) Island 27 3 S4 36 575w F/L CONVENTIONALS/19 (10) R55 + R132 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 16 2 S4 26 575w F/L ABOVE CONVENTIONALS/40 (31) Island 16 3 S4 36 575w F/L STAIRS CONVENTIONALS/27 (21) Island 20 1 S4 36 575w F/L STAIRS CONVENTIONALS/20 (25) Island 20 2 S4 26 575w F/L ABOVE CONVENTIONALS/1 (35) Island 23 1 S4 26 575w F/L STAIRS CONVENTIONALS/27 (21) Island 27 1 S4 26 575w F/L STAIRS CONVENTIONALS/20 (25) University of Florida School of Thetare and Dance / G885 + R132 thru R55 + R132

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COLOR SCHEDULE Page 27 of 30 ChicagoNov14 11/14/11 Chicago R358 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz SL Side Pipe 1 S4 50 575w RAIN A CONVENTIONALS/172 (382) 1054 -BR SR Side Pipe 1 S4 50 575w RAIN A CONVENTIONALS/11 (381) 1054 -BR Deck Q-Lite 1kw UPLIGHT CONVENTIONALS/205 (494) Deck Q-Lite 1kw UPLIGHT CONVENTIONALS/244 (491) G842+R119 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH L BOXBOO M 1 S4 26 575w B/B A CONVENTIONALS/15 (45) FOH L BOXBOO M 2 S4 26 575w B/B A CONVENTIONALS/308 (44) FOH L BOXBOO M 3 S4 26 575w B/B A CONVENTIONALS/307 (43) FOH L BOXBOO M 4 S4 26 575w B/B A CONVENTIONALS/302 (42) FOH L BOXBOO M 5 S4 36 575w B/B A CONVENTIONALS/301 (41) University of Florida School of Thetare and Dance / R358 thru G842+R119

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COLOR SCHEDULE Page 28 of 30 ChicagoNov14 11/14/11 Chicago R3208+R132 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH R BOXBOO M 1 S4 36 575w B/B B CONVENTIONALS/320 (55) FOH R BOXBOO M 2 S4 26 575w B/B B CONVENTIONALS/319 (54) FOH R BOXBOO M 3 S4 26 575w B/B B CONVENTIONALS/314 (53) FOH R BOXBOO M 4 S4 26 575w B/B B CONVENTIONALS/313 (52) FOH R BOXBOO M 5 S4 26 575w B/B B CONVENTIONALS/2 (51) R3313+R119 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz FOH L LADER 5 S4 50 575w MIDSTAGE SR CONVENTIONALS/312 (245) FOH L LADER 6 S4 36 575w MIDSTAGE CS CONVENTIONALS/305 (246) FOH L LADER 7 S4 26 575w MIDSTAGE SL CONVENTIONALS/41 (247) R337 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 31 1 S4 26 750w F/L ABOVE CONVENTIONALS/14 (32) 1224 -BR Island 36 1 S4 26 750w F/L ABOVE CONVENTIONALS/14 (32) 1224 -BR R78 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 1 S4 36 575w H/S B CONVENTIONALS/89 (77) 6024 -BR University of Florida School of Thetare and Dance / R3208+R132 thru R78

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COLOR SCHEDULE Page 29 of 30 ChicagoNov14 11/14/11 Chicago R81+HS Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 1st LX 3 S4 26 575w H/S B CONVENTIONALS/91 (79) R79+HS Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 17 1 S4 50 575w F/L CONVENTIONALS/37 (12) 2000 -BR R79+R119 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 13 1 S4 PAR MFL 575w DOWN CONVENTIONALS/45 (146) APRON Pipe 5 S4 PAR MFL 575w TOPLIGHT CONVENTIONALS/78 (144) APRON Pipe 8 S4 PAR MFL 575w TOPLIGHT CONVENTIONALS/78 (144) APRON Pipe 12 S4 PAR MFL 575w DS TOPLIGHT CONVENTIONALS/84 (143) APRON Pipe 15 S4 PAR MFL 575w DS TOPLIGHT CONVENTIONALS/84 (143) 1st LX 15 S4 PAR MFL 575w HEX TOPLIGHT CONVENTIONALS/113 (141) R367 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz UNDER PLATFOR MING SR Q-Lite 1kw UPLIGHT CONVENTIONALS/245 (492) UNDER PLATFOR MING SL Q-Lite 1kw UPLIGHT CONVENTIONALS/203 (493) University of Florida School of Thetare and Dance / R81+HS thru R367

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COLOR SCHEDULE Page 30 of 30 ChicagoNov14 11/14/11 Chicago R80 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz 5th LX 4 8" Fresnel 1kw BAND B CONVENTIONALS/163 (853) 5th LX 5 8" Fresnel 1kw BAND B CONVENTIONALS/163 (853) 6th LX 2 8" Fresnel 1kw BAND A CONVENTIONALS/178 (851) 6th LX 4 8" Fresnel 1kw BAND A CONVENTIONALS/182 (852) 6th LX 6 8" Fresnel 1kw BAND A CONVENTIONALS/178 (851) R68 Position U# Inst Type Watt Purpose Dimmer Channel Acc Gobo Gsiz Island 2 1 S4 36 575w LANDING CONVENTIONALS/68 (202) R774 23 Island 3 4 S4 36 575w LANDING CONVENTIONALS/65 (201) R774 23 Island 4 2 S4 36 575w LANDING CONVENTIONALS/49 (204) R774 23 Island 5 1 S4 36 575w LANDING CONVENTIONALS/61 (205) R774 23 APRON Pipe 9 S4 36 575w LANDING CONVENTIONALS/74 (206) R774 23 APRON Pipe 13 S4 36 575w LANDING CONVENTIONALS/82 (203) R774 23 University of Florida School of Thetare and Dance / R80 thru R68

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COLOR COUNT Page 1 of 8 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye COLOR COUNT Color Cuts A7050 PAR 64 MFL 2 cuts Total: 2 cuts G872 S4 36 5 cuts Total: 5 cuts L052 S4 50 2 cuts Total: 2 cuts L127 S4 26 5 cuts Total: 5 cuts L236 VL-1000 Shutter 1 cut VL-1000 Iris 1 cut Total: 2 cuts L716 S4 26 5 cuts Total: 5 cuts R06 S4 50 3 cuts Total: 3 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 2 of 8 ChicagoNov14 11/14/11 Chicago R08 S4 36 1 cut Total: 1 cut R124 T3 3 Light Sky Cyc Strip 14 cuts Total: 14 cuts R125 T3 3 Light Sky Cyc Strip 14 cuts Total: 14 cuts R126 T3 3 Light Sky Cyc Strip 14 cuts Total: 14 cuts R305 PAR 64 NSP 1 cut Altmn MR-16 ZipStrip (19 EYC) 2 cuts Total: 3 cuts R3202 S4 19 12 cuts PAR 64 WFL 4 cuts Total: 16 cuts R3204 S4 26 2 cuts S4 36 2 cuts S4 50 2 cuts Total: 6 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 3 of 8 ChicagoNov14 11/14/11 Chicago R3206 S4 19 2 cuts Total: 2 cuts R3208 S4 26 4 cuts S4 36 2 cuts PAR 64 NSP 6 cuts PAR 64 WFL 2 cuts Total: 14 cuts R3313 S4 26 2 cuts S4 36 3 cuts S4 50 1 cut 3" Fresnel 2 cuts Total: 8 cuts R333 S4 36 1 cut Total: 1 cut R336 S4 26 1 cut S4 50 2 cuts Total: 3 cuts R339 S4 50 2 cuts Total: 2 cuts R34 S4 50 1 cut S4 70 2 cuts Total: 3 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 4 of 8 ChicagoNov14 11/14/11 Chicago R349 S4 50 6 cuts Total: 6 cuts R362 S4 36 5 cuts S4 50 3 cuts Total: 8 cuts R365 8" Fresnel 5 cuts PAR 64 NSP 1 cut Total: 6 cuts R388 Altmn MR-16 ZipStrip (19 EYC) 2 cuts Total: 2 cuts R4915 S4 36 2 cuts Total: 2 cuts R55 S4 26 4 cuts S4 36 2 cuts PAR 64 WFL 2 cuts Total: 8 cuts R57 PAR 64 MFL 2 cuts Total: 2 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 5 of 8 ChicagoNov14 11/14/11 Chicago R63 8" Fresnel 6 cuts Total: 6 cuts R64 3" Fresnel 2 cuts Total: 2 cuts R66 S4 36 1 cut S4 50 1 cut Total: 2 cuts R70 S4 26 2 cuts S4 36 3 cuts S4 50 1 cut Total: 6 cuts R72 Selecon Pacific 90 2 cuts Total: 2 cuts R79 S4 50 1 cut S4 PAR MFL 6 cuts S4 PARnel 4 cuts Total: 11 cuts R81 S4 26 1 cut Altmn MR-16 ZipStrip (19 EYC) 2 cuts Total: 3 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 6 of 8 ChicagoNov14 11/14/11 Chicago SCROLL SET #1 S4 PAR WFL 2 scrolls S4 PARnel 4 scrolls 7.5" Color Scroller 6 scrolls Total: 12 scrolls SCROLL SET #4 S4 PAR MFL 3 scrolls 7.5" Color Scroller 3 scrolls Total: 6 scrolls SCROLL SET #6 S4 PAR MFL 3 scrolls S4 PARnel 1 scroll 7.5" Color Scroller 4 scrolls Total: 8 scrolls SEE BAYONET Midget 2k Follow Spot 2 cuts Total: 2 cuts R39 S4 26 2 cuts S4 36 2 cuts S4 50 2 cuts Total: 6 cuts R3407 S4 36 1 cut Total: 1 cut R27 S4 PAR WFL 1 cut S4 PARnel 5 cuts Altmn MR-16 ZipStrip (19 EYC) 2 cuts Total: 8 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 7 of 8 ChicagoNov14 11/14/11 Chicago A3850 S4 PARnel 6 cuts Total: 6 cuts G885 S4 26 5 cuts S4 36 5 cuts S4 50 3 cuts Total: 13 cuts R358 S4 50 2 cuts Q-Lite 2 cuts Total: 4 cuts G842 S4 26 4 cuts S4 36 1 cut Total: 5 cuts R337 S4 26 2 cuts Total: 2 cuts R78 S4 36 1 cut Total: 1 cut R367 Q-Lite 2 cuts Total: 2 cuts University of Florida School of Thetare and Dance /

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COLOR COUNT Page 8 of 8 ChicagoNov14 11/14/11 Chicago R80 8" Fresnel 5 cuts Total: 5 cuts R68 S4 36 6 cuts Total: 6 cuts R132 S4 26 13 cuts S4 36 8 cuts S4 50 3 cuts Total: 24 cuts R119 S4 26 5 cuts S4 36 2 cuts S4 50 1 cut S4 PAR MFL 6 cuts Total: 14 cuts HS S4 26 1 cut S4 50 1 cut Total: 2 cuts University of Florida School of Thetare and Dance /

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GOBO SCHEDULE ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye TABLE OF CONTENTS 1028-BR .............................................. 1 Camo1 ................................................. 4 2051-AR .............................................. 1 Camo2 ................................................. 4 G557 .................................................... 1 2000-BR .............................................. 4 G647 .................................................... 1 1224-BR .............................................. 4 R76601 ................................................ 2 6020-AR .............................................. 4 R77204 ................................................ 2 6024-BR .............................................. 4 R77423 ................................................ 2 2012-BR .............................................. 5 R7748 .................................................. 3 1054-BR .............................................. 5 R7833 .................................................. 3 G548 .................................................... 5 R78405 ................................................ 3 R77503 ................................................ 5 R77012 ................................................ 3 R77502 ................................................ 6

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GOBO SCHEDULE Page 1 of 6 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye 1028-BR A-Size Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 33 1 S4 50 750w F/L ABOVE CONVENTIONALS/9 (33) R362 2051-AR A-Size Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 2nd LX 1 S4 36 575w BACK B CONVENTIONALS/119 (905) R362 2nd LX 5 S4 36 575w BACK B CONVENTIONALS/123 (904) R362 2nd LX 7 S4 36 575w BACK B CONVENTIONALS/126 (903) R362 2nd LX 9 S4 36 575w BACK B CONVENTIONALS/129 (902) R362 2nd LX 12 S4 36 575w BACK B CONVENTIONALS/131 (901) R362 G557 B-Size (1 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 18 S4 36 575w H/S A CONVENTIONALS/118 (68) R333 G647 B-Size (4 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 3rd LX 8 S4 36 575w SEAL SCRAPE CONVENTIONALS/146 (466) R08 University of Florida School of Thetare and Dance / 1028-BR thru G647

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GOBO SCHEDULE Page 2 of 6 ChicagoNov14 11/14/11 Chicago R76601 A-Size (1 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 2 S4 36 575w H/S B CONVENTIONALS/90 (78) R66 R77204 B-Size Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 3rd LX 3 S4 50 575w TEXTURE TOP CONVENTIONALS/134 (913) R06 3rd LX 4 S4 50 575w TEXTURE TOP CONVENTIONALS/136 (912) R06 3rd LX 5 S4 50 575w TEXTURE TOP CONVENTIONALS/139 (911) R06 R77423 A-Size (6 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 2 1 S4 36 575w LANDING CONVENTIONALS/68 (202) R68 Island 3 4 S4 36 575w LANDING CONVENTIONALS/65 (201) R68 Island 4 2 S4 36 575w LANDING CONVENTIONALS/49 (204) R68 Island 5 1 S4 36 575w LANDING CONVENTIONALS/61 (205) R68 APRON Pipe 9 S4 36 575w LANDING CONVENTIONALS/74 (206) R68 APRON Pipe 13 S4 36 575w LANDING CONVENTIONALS/82 (203) R68 University of Florida School of Thetare and Dance / R76601 thru R77423

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GOBO SCHEDULE Page 3 of 6 ChicagoNov14 11/14/11 Chicago R7748 A-Size Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz SL Side Pipe 3 S4 36 575w ORCH SCRAPE CONVENTIONALS/166 (372) R4915 SR Side Pipe 3 S4 36 575w ORCH SCRAPE CONVENTIONALS/3 (371) R4915 R7833 A-Size (4 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz SL Side Pipe 2 S4 50 575w RAIN B CONVENTIONALS/167 (392) R362 SR Side Pipe 2 S4 50 575w RAIN B CONVENTIONALS/39 (391) R362 R78405 A-Size (2 Ordered) Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 6th LX 3 S4 70 575w Band Texture CONVENTIONALS/179 (841) R34 6th LX 5 S4 70 575w Band Texture CONVENTIONALS/179 (841) R34 R77012 B-Size Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz ROH LEFT 2 S4 26 750w TEXTURE WASH CONVENTIONALS/310 (98) N/C ROH RIGHT 5 S4 26 750w TEXTURE WASH CONVENTIONALS/315 (99) N/C University of Florida School of Thetare and Dance / R7748 thru R77012

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GOBO SCHEDULE Page 4 of 6 ChicagoNov14 11/14/11 Chicago Camo1 Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 13 Apollo Gobo Rotator Rotator MOVERS/434 (434) N/C Camo2 Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 7 Apollo Gobo Rotator Rotator MOVERS/437 (437) N/C 2000-BR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 17 1 S4 50 575w F/L CONVENTIONALS/37 (12) R79+ HS 1224-BR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 31 1 S4 26 750w F/L ABOVE CONVENTIONALS/14 (32) R337 Island 36 1 S4 26 750w F/L ABOVE CONVENTIONALS/14 (32) R337 6020-AR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 19 S4 36 575w H/S A CONVENTIONALS/117 (67) R3407 6024-BR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz 1st LX 1 S4 36 575w H/S B CONVENTIONALS/89 (77) R78 University of Florida School of Thetare and Dance / Camo1 thru 6024-BR

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GOBO SCHEDULE Page 5 of 6 ChicagoNov14 11/14/11 Chicago 2012-BR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 3 3 S4 19 575w TIGHT TOP CBT SR CONVENTIONALS/51 (162) R3202 Island 4 4 S4 19 575w TIGHT TOP CBT CS CONVENTIONALS/64 (164) R3202 Island 13 2 S4 19 575w TIGHT TOP CBT SL CONVENTIONALS/46 (166) R3202 1054-BR Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz SL Side Pipe 1 S4 50 575w RAIN A CONVENTIONALS/172 (382) R358 SR Side Pipe 1 S4 50 575w RAIN A CONVENTIONALS/11 (381) R358 G548 Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 19 2 S4 50 575w F/L CONVENTIONALS/34 (14) R66 R77503 Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 5 5 S4 26 575w H/S A CONVENTIONALS/47 (71) R3204 Island 14 2 S4 50 575w H/S B CONVENTIONALS/43 (73) R3204 APRON Pipe 2 S4 50 575w H/S B CONVENTIONALS/73 (76) R3204 APRON Pipe 7 S4 26 575w H/S B CONVENTIONALS/77 (74) R3204 University of Florida School of Thetare and Dance / 2012-BR thru R77503

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GOBO SCHEDULE Page 6 of 6 ChicagoNov14 11/14/11 Chicago R77502 Position U# Inst Type Watt Purpose Dimmer Channel Acc Color Gsiz Island 5 2 S4 36 575w H/S B CONVENTIONALS/62 (72) R3204 APRON Pipe 4 S4 36 575w H/S B CONVENTIONALS/75 (75) R3204 University of Florida School of Thetare and Dance / R77502

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GOBO COUNT Page 1 of 5 ChicagoNov14 11/14/11 Chicago LD: Mike McShane UF SoTD ALD: Ben Hawkins ME: Todd Bedell ALD: Alena Aissing PROF: Stan Kaye GOBO COUNT 1028-BR 1 for S4 50 1 Total 1054-BR 2 for S4 50 2 Total 1224-BR 2 for S4 26 2 Total 2000-BR 1 for S4 50 1 Total 2012-BR 3 for S4 19 3 Total University of Florida School of Thetare and Dance /

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GOBO COUNT Page 2 of 5 ChicagoNov14 11/14/11 Chicago 2051-AR 5 for S4 36 5 Total 6020-AR 1 for S4 36 1 Total 6024-BR 1 for S4 36 1 Total Camo1 1 for Apollo Gobo Rotator 1 Total Camo2 1 for Apollo Gobo Rotator 1 Total G548 1 for S4 50 1 Total University of Florida School of Thetare and Dance /

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GOBO COUNT Page 3 of 5 ChicagoNov14 11/14/11 Chicago G557 1 for S4 36 1 Total G647 1 for S4 36 1 Total R76601 1 for S4 36 1 Total R77012 2 for S4 26 2 Total R77204 3 for S4 50 3 Total University of Florida School of Thetare and Dance /

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GOBO COUNT Page 4 of 5 ChicagoNov14 11/14/11 Chicago R77423 6 for S4 36 6 Total R7748 2 for S4 36 2 Total R77502 2 for S4 36 2 Total R77503 2 for S4 26 2 for S4 50 4 Total R7833 2 for S4 50 2 Total University of Florida School of Thetare and Dance /

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GOBO COUNT Page 5 of 5 ChicagoNov14 11/14/11 Chicago R78405 2 for S4 70 2 Total University of Florida School of Thetare and Dance /

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4 1 2 3 5 6 7 8 9 10 11 12 13 14 15 85 84 83 82 81 21 25 22 31 35 26 32 33 34 41 42 43 44 45 55 54 53 52 51 61 62 63 64 65 66 67 68 69 71 72 73 74 75 76 77 78 79 91 92 93 94 95 101 111 102 112 103 113 106 116 105 115 104 114 121 122 123 125 126 127 131 132 133 136 137 138 135 141 142 144 143 145 145 146 146 151 152 153 155 156 157 161 162 163 164 165 166 171 172 173 181 182 191 192 198 197 196 195 201 202 203 206 205 204 245 246 247 241 242 243 255 256 257 251 252 253 261 265 262 266 311 313 314 312 351 321 352 353 491 492 494 493 471 472 465 666 461 481 466 681-684 685-688 702 721 741 761 781 801 802 803 821 822 823 824 825 851 852 841 853 901 902 903 904 905 911 912 913 951 952 953 954 954 371 372 381 391 382 392 1021 1022 1023 1024 1025 1010 Music: John Kander Lyrics: Fred Ebb Book: Fred Ebb and Bob Fosse LD: Mike McShane ALD: Ben Hawkins ALD: Alena Aissing ME: Todd Bedell Constans Mainstage University of Florida Gainesville Florida VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

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Monday October 31, 2011 CALL AT 6:00 GO AT 6:30 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 6:00 6:30 Lighting Followspot Instruction 6:30 7:00 Overture 10 W 7:00 8:30 All That Jazz (FX) 30 W 8:30 8:45 Policy Manual Break 8:45 8:50 Out of All That Jazz 2 W 8:50 9:10 Funny Honey 7 W 9:10 9:25 Out of Funny Honey 4 W 9:25 9:30 Into Mama 1 W 9:30 9:40 Mama 3 W 9:45 9:50 Mama Book Scene 1 W 9:50 10:10 Mama Reprise 6 W 10:10 10:30 Transition into Jail & Book 4 W 10:30 END OF DAY 68 Cues Completed NOTES: 3 Minutes per Cue Avg 225 minutes with actors.

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Tuesday November 1, 2011 CALL AT 6:00 GO AT 6:30 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 6:00 6:30 Lighting Followspot Instruction 6:30 8:00 Cell Block Tango 36 W 8:00 8:05 Tap Dance Book Scene 2 W 8:05 8:30 All I Care About 16 W 8:30 8:45 Policy Manual Break 8:45 8:50 Trans. Billy's Office/Book 3 W 8:50 9:10 Little Bit of Good 12 W 9:10 9:20 Back to Book Scene 3 W 9:20 9:50 Reached (& FX TIME) 16 W 9:50 10:10 Trans/Go To Hell Kitty (FX) 10 W 10:10 10:20 My Own Best Friend 7 W 10:20 10:30 End of Act One 5 W 10:30 END OF DAY 110 NOTES: Cues Completed 225 minutes with actors 2 Minutes per Cue Avg

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GO AT 6:30 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 6:00 6:30 Lighting Followspot Instruction 6:30 7:10 Mr. Cellophane & Book 17 W 7:10 7:15 Book after Cellophane 2 W 7:15 7:45 When Velma 17 W 7:45 8:30 I Can't Do It Alone 20 W 8:30 8:45 Policy Manual Break 8:45 8:50 Book Before Alone 3 W 8:50 9:00 Book After Alone/Reprise 4 W 9:00 10:00 Razzle Dazzle (FX) 18 W 10:00 10:30 I Know A Girl 12 W 10:30 END OF DAY 57 NOTES: Cues Completed 225 minutes with actors 3 Minutes per Cue Avg Wednesday November 2, 2011 CALL AT 6:00

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GO AT 6:30 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 6:00 6:30 Followspot Instruction 6:30 8:30 Run of Act One With Followspots (No Stopping) 8:30 8:45 Policy Manual Break 8:45 10:30 Run of Act Two With Followspots (No Stopping) Thursday November 3, 2011 CALL AT 6:00

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GO AT 9:00 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 9:00 10:30 Scene Shift Rehearsal 10:00 Lighting Call 10:30 Lighting Go 10:30 10:45 Transition into Roxie 3 W 9:15 9:45 Roxie (Mirrors & FX) 13 W 9:45 11:00 Me and My Baby 22 W 11:00 11:15 Policy Manual Break 11:15 11:30 Nowadays 12 11:30 11:35 RSVP 1 11:35 12:15 Hot Honey Rag (FX) 7 12:15 12:30 All That Jazz End of Act Two 7 12:30 1:00 I Know A Girl 1:00 2:00 LUNCH BREAK 1:00 1:15 Preshow 3 1:15 1:45 Notes 2:00 2:45 Courtroom Act 2 Book Scenes A 20 2:45 3:15 Courtroom Act 2 Book Scenes B 13 5:00 END OF LIGHTING REHEARSAL 5:00 6:00 DINNER BREAK 5:00 5:15 Intermission 3 5:15 5:30 Bows 3 5:30 6:00 Notes NOTES: Cues Completed 107 450 minutes with actors Sunday November 6, 2011 CALL AT 8:30

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GO AT 6:30 TIME START ACTUAL TIME FINISH ACTUAL SCENE/SONG/MOMENT CUE QTY ACTUAL W 6:30 7:00 Hungarian Rope Trick & Book 13 W 7:00 7:05 Mary Sunshine Radio 3 7:05 7:35 Class 11 7:35 7:50 Policy Manual Break 7:50 10:30 Run Show Stop and Go 10:30 END OF DAY NOTES: Cues Completed 27 Monday November 7, 2011 CALL AT 6:00 225 minutes with actors

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APPENDIX G EXPENDATURE DATA

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Chicago Lighting Designer: Mike McShane Scenic Designer: Jovon Eberhart

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Warm White LED Backlight Modules CURRENTLY HAVE: All rivets lit up on one half of the hexagon [Conceit discussed between scenic and lighting] REQUESTED: Modules to complete hexagon in LED Rivets, with repl acement modules [256 modules, 44 spares] Modules = $139/pack of 50 TOTAL = $834

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LED Light Curtain Hot Honey Rag LED Light Curtain [20 x 26 4] [Conceit discussed between scenic and lighting] [ Quantity Requested 5 Total [ Quantity Requested 5 Total TOTAL

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Rain curtain 50 by 38 Rain Curtain [Segmented as per scenics needs, possibly 6 sections of 8 4.] Blackout curtain Blackout Curtain [Element to be purchased to replace UFs MIA Blackout Curtain.]

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CHICAGO COLOR ORDER ROSCO QUANTITY PRICE TOTAL: $75 TEMPLATE ORDER GAM FRAME SIZE QUANTITY PRICE ROSCO FRAME SIZE QUANTITY TOTAL: $216 GRAND TOTAL: $291

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APPENDIX H SPECIFICATION SHEETS

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PAGE 1 www.seleconlight.com Product Specification Sheet Pacific 90 Fixed Beam A base down axial ellipsoidal delivering a cool beam of light in a fixed beam of 90. The beam is of crisp white ligh t with little distortion, ideal for texture pattern projection and beam shaping. An energy efficient fixture with active heat management system delivers longer life for filters, shutters etc and lower energy consumption. Features A unique super wide 90 ? fixed beam ellipsoidal with a high light output due to its unique reflector design. Cool light white light. Over 80% of the heat is removed from the light beam by cold mirror and dissipated through the heatsink. Base down lamp mounted axially in the r eflector to maximize light collection. Choice of 575W; 750W or 1000W; MSR 575W; 70W / 150W CDM / CMH lamp modules supplied with 3ft mains cable. Accurate, simple & cool to use, lamp peak / flat adjustment. Two pattern / iris mounting positions. Rotatable lens tube. Automatic disconnection of power on removal of lamp module. Height adjustable yoke. Lamps: 115V GLC 575W 15,500 lumens 400hrs average life GLA 575W 13,500 lumens, 500hrs average life GLD 750W 18,600 lumens 400hrs average life GLE 750W 1500hrs average life Philips 120V750W Type code 6981P or 924546834428 GAC 1000W BP 27,000 lumens, 250hrs average life Order C odes 18PAC90/6 Pacific 90 Fixed Beam, 575W, 750W 18PAC90/1 Pacific 90 Fixed Beam, 1000W 18PACL90 Pacific 90 lens tube onl y 19PACGHA Pacific gobo holder, A size 20IRIS Pacific iris 19PACSM1228 Lens safety mesh Approvals ETL / cETL listed to UL 1573.

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PAGE 2 www.seleconlight.com Photometric D ata Tests conducted using standard 115V production lamps manu factured by Philips. Physical D ata Weight: 18 lb 8oz Carton s ize: 2 5 x 15 x 10 5/8 Color f rame s ize: 7 3/8 x 7 3/8 square Gobo s ize: A Size, 3 diameter image Gobo h older w idth: 4 Included: 1 x color frame, 1x fitted saferty cable, 1x C clamp, 1 x heat sink guard, 1 x suspension bolt set and instruction sheet. 440mm / 17 3/8 485mm / 19 210mm / 8 # 440mm / 17 3/8 330mm / 13 255mm / 10 220mm / 8 310mm / 12 # 230mm / 9 250mm / 9 7/8200mm/7 7/8 Selecon reserves the right to change the specifications without notice ( 07/08 ). Beam angle 90 ft 0.0 14.0 26.042.056.070.084.098.0 112.0 Throw Distance in ft 0 7 13 21 28 35 42 49 56 Lamp 115V 750W 90 Peak 383 11143 ----Flat 19356 -----115V GLC 575W 90 Peak 345100 -----Flat 15946 -----115V BP 1000W 90 Peak 42112247 ----Flat 20760 -----MSR 575 / 2 90 Peak 6731957542 ---Flat 352102 -----CDM-T 942 / 830 150W 90 Peak 20058 -----Flat 11433 -----CDM-T 942 / 830 70W 90 Peak 12135 -----Flat 6619 -----CST 250 HR 90 Peak 2746930 ----Flat 2746930 ----Light Output in Footcandles Beam Diameter

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Source Four PAR 1 Source Four PARSource Four PAR Please note the following safety warnings before use: Do not mount the Source Four PAR on or near combustible surfaces. Do not operate the Source Four PAR without a lens installed. Always hang the Source Four PAR with the color frame retaining clip in the locked position.AccessoriesColor frame 7.5 in. sq./6.7 in. inside diameter)407CF Safety cable (31 in.) 400SC C-clamp 400CC Very Nar row Spot lens 400-VNSP Narrow Spot lens 400-NSP Medium Flood lens 400-MFL Wide Flood lens 400-WFL Set of four Source Four PAR lenses (VNSP, NSP, MFL, WFL) 400LS4 Color frame Lens Lens catcher Retaining clip Yoke locking knob Yoke Lamp Spring clip Tabs Lens rotation ring Color frame holder housing

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2 Source Four PAR HPL lamps Use the HPL lamp only in Source Four and Source Four PAR xtures manufactured and sold by Electronic Theatre Controls, Inc. Do not use lamps other than the HPL in Source Four PAR xtures. Installing the HPL lamp Always replace the lamp if it becomes damaged or deformed. Verify that the HPL lamp you use is suitable for the voltage at your facility. 115, 120, 230, and 240 volt HPL lamps are available. Caution! Operating lamps above their rated voltage reduces lamp life and can cause premature lamp failure. 1. Disconnect the unit from power before installing the lamp. 2. Loosen the knurled bolt on the back of the lamp housing and pull the housing straight out from the back of the xture. 3. Remove the HPL lamp from its box, holding it by the base. Note: To avoid premature lamp failure, do not touch the lamp glass with your ngers. If you touch the lamp during installation, clean it carefully with rubbing alcohol and a clean, lint-free cloth before operation. 4. Line up the at sides of the lamp base with the brackets on either side of the socket ( Figure 1 ). 5. Push down on the lamp base until the lamp is rmly seated. Make sure that the lamp is fully seated, with the bottom of the lamp heat sink ush to the lamp housing casting. Caution! Improperly installed lamps cause premature lamp failure and socket problems. 6. To reinstall the lamp housing, center it on the reector and the bolt hole, then tighten the knurled bolt to secure the lamp housing in place. Lamp codeWattsVoltsColor tempAve rated life HPL 375/115 375 115 3,250K 300 hour HPL 375/115X3751153,050K1,000 hour HPL 550/77 550 77 3,250K 300 hour HPL 550/77X550773,050K2,000 hour HPL 575/115 575 115 3,250K 300 hour HPL 575/115X5751153,050K2,000 hour HPL 575/120 575 120 3,250K 300 hour HPL 575/2305752303,200K400 hour HPL 575/240 575 240 3,200K 400 hour WARNING! Let lamp cool before changing. American Euro. Figure 1 HPL lamp Lamp brackets Knurled bolt Lamp housing

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Source Four PAR 3 Lens identication Lenses for the Source Four PAR come in four versions. The type or beam spread can be identied by the lens texture. Changing Source Four PAR lenses Change lenses if they become cracked or badly scratched. Caution! Never operate the Source Four PAR without a lens in place. Removing a lens 1. Source Four PAR lenses get hot while the unit is in operation. Let the xture cool before handling the lens. 2. Place the xture on a at, stable work surface. Do not install or remove lenses with the unit hanging. 3. Position the lens rotation ring with the spring clip at the top of the unit, directly below the retaining clip. 4. Tilt the front of the xture down at least 45 degrees. 5. Press the spring clip with your nger to release the lens ( Figure 2 ). 6. Allow the lens to drop forward from under the clip. 7. When the lens drops, remove your nger, allowing the lens to slide forward until it rests on the lens catchers ( Figure 3 ). 8. Carefully remove the lens from the xture. Installing a lens 1. Position the xture with the front of the unit (the lens side) facing you, and tilted slightly ( Figure 2 ). 2. Position the lens rotation ring with the spring clip at the top of the xture, directly below the retaining clip. 3. Hold the lens by the edge, and position it so the convex side faces the back of the xture ( Figure 4 ). Note: Installing the lens with the convex side out will not impair the optics, but it will make removing the lens difcult. 4. From the top of the xture, slide the lens behind the lens catchers and position its base behind the tabs on the bottom of the lens rotation ring. 5. Gently push the top of the lens inward until it snaps behind the spring clip. WARNING! Unplug the xture before attempting to remove or install a lens. MFL WFL NSP VNSPVery narrow spot Clear glass 15 Round beam shape Narrow spot Stipple glass (slight diffuse texture) 19 Round beam shape Medium ood Fewer facets, sized 6 x 22mm 21 x 34 Oblong beam shape Wide ood Many facets, sized 6 x 12mm 30 x 51 Oblong beam shape Figure 2 Spring clip Tab Retaining clip Figure 3 Lens catcher Figure 4 Spring clip Retaining clip Tab

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Electronic Theatre Controls North America 3030 Laura Lane Middleton, Wisconsin 53562 USA Tel: (+1) 608 831 4116 Fax: (+1) 608 836 1736 Europe 5 Victoria Industrial Estate Victoria Road London W3 6UU Tel: (+44) 181 896 1000 Fax: (+44) 181 896 2000 Asia Room 605-606 Tower III Enterprise Square 9 Sheung Yuet Road Kowloon Bay Hong Kong Tel: (+852) 2799 1220 Fax: (+852) 2799 9325 World Wide Web: http://www.etcconnect.com Email: mail@etcconnect.com Specifications subject to change. Source Four PAR is protected by US patent numbers 5,268,613. US and International Patents Pending. 7061M1001. Copyright 1998 Revised 11/98. Color frame retaining clip The color frame holder is equipped with a spring-loaded retaining clip that prevents color frames and accessories from falling out. 1. Release the retaining clip by pushing it sideways. The retaining clip opens. 2. Insert the color frame. 3. Press the retaining clip down until it locks. Note: Use only color frames or top hats with 6.7-inch inside diameter. Cleaning the reector ETC offers the following recommendations when cleaning and inspecting lenses and reectors: Do not use glass and window cleaners on the reector. Chemicals in these cleaners will harm the reective coating. Do not use paper towels or harsh materials to wipe the reector. These materials can scratch the surface of the reector. 1. Remove the lens so you can access the reector from the front of the xture. See Removing a lens on page 3. 2. Remove dust with a blast of oil free air, or wipe with a clean, soft, lint-free cotton cloth. If this is sufcient to remove dust, go to step 5. Otherwise, continue to step 3. 3. Dampen a clean, soft, lint-free cotton cloth with a mild, soapy water solution and gently wipe the reector. 4. Remove any soapy water residue with a clean, soft, lint-free cotton cloth dampened with water. 5. Reinstall a lens before using the xture. WARNING! Hang the Source Four PAR with the color frame retaining clip in the locked position. WARNING! Unplug the xture before attempting to clean reector. Figure 5 Retaining clip in the locked position

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Source Four PARNel ETC 1 of 4 PAR Series SPECIFICATIONSPHYSICAL Rugged diecast aluminum construction Highimpact, thermally insulated precision focus knob Sealed reector housing Reector temperature control through integral heat sink ns Gel frame holders with two accessory slots Topmounted, gelframe retainer Steel yoke with two mounting positions Positive locking yoke clutch UL and cUL Listed ELECTRICAL 115-240V, 50/60Hz Hightemperature three-conductor 36 leads in a glass ber outer sleeve Supports ETC Dimmer Doubling technology LAMP HPL compact tungsten lament contained in a krypton/ xenon-lled quartz envelope (see table for suitable lamp types) 750W maximum Patented lament geometry makes for extremely efcient light collection and transmission Integral diecast aluminum heat sink lamp base LENSES Patented wave lens system Two heat resistant borosilicate glass lenses One xed wave clear lens and one rotatable wave stippled lens installed Tool free front lens changing Thermally insulated lens ring S PECIFICATIONSOPTICAL Integral 24 47 spot to ood adjustment Modied parabolic and multifaceted reector Computer designed reector facets molded directly into heat sink casting, nished with an enhanced aluminum deposition process, and polished for maximum reectanceO RDERING INFORMATION Source Four PARNel MODELDESCRIPTION PARNelSource Four PARNel (Black) PARNel-1Source Four PARNel (White)ETC Source Four PARNel are supplied with a color frame and 3 (96cm) lead as standardConnector DesignationUse Sufxes below to specify FactoryFitted Connector type MODELDESCRIPTION A Parallel-blade U-ground connector B Two-pin and ground, 20 amp connector C Grounded, 20 amp, twistlock connector M Dimmer Doubling Connector (NEMA L515P)See back page for Source Four PAR Accessories

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ETC Source Four PARNelPAR Series PHOTOMETRICSPhotometric data below is measured with an HPL 750W/115V 300 hr lamp. To convert data when using any other HPL lamp, use the lumen or candela multiplying factors (Lm MF or Cd MF) for that specic lamp. These multiplying factors are listed in the Lamps table in this datasheet. For lumen data, multiply by the Lm MF. For candela or footcandle data, multiply by the Cd MF.2 of 4Source Four PARNel Spot Focus DegreeCandela Field Lumens Beam Lumens Efciency Lumens per watt Spot190,3909,1354,61041.7%12.2For Field diameter at any distance, multiply distance by 0.42 For Beam diameter at any distance, multiply distance by 0.21 Source Four PARNel Flood Focus DegreeCandela Field Lumens Beam Lumens Efciency Lumens per watt Flood47,05010,5606,44048.2%14.1For Field diameter at any distance, multiply distance by 0.87 For Beam diameter at any distance, multiply distance by 0.52 Throw Distance (d)20.0 6.1m 35.0 10.7m 50.0 15.2m 60.0 18.3mField Diameter8.4 2.6m 14.7 4.5m 20.9 6.4m 25.1 7.7mIlluminance (fc)4761557653Illuminance (lux)5,1231,673820569 Beam Angle Field Angle29 47 Beam Angle Field Angle12 24 Throw Distance (d)10.0 3.0m 15.0 4.6m 20.0 6.1m 30.0 9.1mField Diameter8.7 2.6m 13.0 4.0m 17.3 5.3m 26.0 7.9mIlluminance (fc)47120911852Illuminance (lux)5,0652,2511266563 X YIso-Illuminance Diagram(Flat Surface Distribution)DegreesCandelaCandela Plot X YIso-Illuminance Diagram(Flat Surface Distribution)DegreesCandelaCandela Plot 10% 50% 10% 50%

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Source Four PARNel ETCPAR Series3 of 4 L AMPSTo determine Candela (Cd) or Lumens (Lm) for any other HPL lamp, multiply the Candela or Lumen value by the appropriate multiplying factor (CdMF or LmMF) shown for that lamp in the table below. ETC Part # Lamp Code WattsVolts Initial Lumens Color Temp. K Avg. Rated Life Spot Cd MF Spot Lm MF Flood Cd MF Flood Lm MFRT116HPL 750/115**75011521,9003,2503001.001.001.001.00 RT196HPL 750/115X75011516,4003,0501,500.64.74.64.74 RT113HPL 575/115**57511516,5203,250300.82.75.78.76 RT114HPL 575/115X57511512,3603,0502,000.56.56.56.56 RT142HPL 375/11537511510,5403,250300.69.48.66.49 RT143HPL 375/115X3751158,5003,0501,000.48.36.45.37 N/AHPL 750/12075012021,9003,2503001.001.001.001.00 N/AHPL 750/120X75012016,4003,0501,500.64.74.64.74 RT115HPL 575/12057512016,5203,250300.82.75.78.76 RT171HPL 575/120X57512012,3603,0502,000.56.56.56.56 RT112HPL 550/77*5507716,1703,250300.84.74.80.75 RT117HPL 550/77X*5507712,1603,0502,000.59.56.59.56 RT160HPL 750/230**75023019,7503,200300.78.86.81.84 N/AHPL 750/230X75023015,6003,0501,500.49.68.50.66 RT129HPL 575/230**57523014,9003,200400.64.65.62.64 RT138HPL 575/230X57523011,7803,0501,500.47.52.49.50 RT154HPL 375/230X3752307,8003,0501,000.35.34.34.33 N/AHPL 750/24075024019,7503,200300.78.86.81.84 N/AHPL 750/240X75024015,6003,0501,500.49.68.50.66 RT130HPL 575/24057524014,9003,200400.61.65.59.64 RT139HPL 575/240X57524011,7803,0501,500.44.52.45.50 RT155HPL 375/240X3752407,8003,0501,000.35.34.34.33Source Four PARNels rated for 750W maximum. *77 Volt HPL lamps are for use with ETC Dimmer Doubling technlology only. **Photometric data was prepared using a production xture and the Prometric CCD measurement system. Fixture adjusted for cosine distribution and tested with calibrated lamp at rated voltage. All data normalized to nominal lamp lumens in accordance with IES LM-73-04. Testing performed at ETC West, Hollywood, CA. All other multiplying factors extrapolated from primary test data. For links to photometry le downloads (IES LM-63-02 format) go to www.etcconnect.com. HPL Specied Tolerances: Watts +/5%, Lumens +/-7%, Average life +/-10%, Color Temperature +/50K

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4 of 4 Corporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web Source Four PARNel ETCPAR Series PHYSICAL 6.7 170mm 5.8 147mm 10.8 274mm 8.3 211mm 10.3 262mm 15.9 404mm Source Four PARNel Weights* MODEL WEIGHTSHIPPING WEIGHT lbskgslbskgs PARNel 83.612.85.8*Add 2.3 lbs for C-clamp O RDERING INFORMATIONContinued from front page...Source Four PARNel Accessories MODELDESCRIPTION 407CFColor frame (7.5) (included) 400SCSafety Cable 400CCC-Clamp 400PTH3Top hat, 3 400PTH6Top hat, 6 400PHH Half hat 400XBTHCross bafe top hat 400PGE3Gel extender, 3 400PGE6Gel extender, 6 400BDBarn door 400L Egg crate louver 400WBWeighted baseNote: For colors other than black and white, please call ETC. Source Four products are protected by one or more of the following patents: U.S. USRE36,3316, US5,345,371, US5,446,637, US5,544,029, US6,092,914 and US5,775,799 U.K.GB0592589, GB0673488, 99930527.9* GermanyDE0592589, GB0673488, 99930527.9* JapanJP2,501,772* European patent application number

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P AR LIGHTINGCa t alog Numbers PAR56 PAR64 PAR64-ALAltman PARs are low-cost, highly flexible luminaires designed for diverse applications. Intensities and beam spread are a function of the installed light source, so any one unit can serve multiple purposes simply by changing the lamp type. The smaller size of the PAR56 reduces installation hassles, while the PA R64s optional PAR56/64 adapter ring gives the fixture great versatility. With oval beams and lamp ranges from 300 to 500 watts for the PAR56 and 300 to 1000 watts for the PAR64, these lights are ideal for use in concerts, nightclubs, television and film remotes and architectural applications where maximum flexibility is desired in a small, compact package. The PAR64-AL is a PAR64 unit constructed from .050-gauge rolled aircraft aluminum to minimize weight without sacrificing durability.Speci f ica t ions subjec t t o change wi t hou t no t ice .3000T O 0500-WA TT PA R 56 AND 300T O 1000-WA TT PA R 64 AND PA R 64-A L S PO T / F L OOD L I GH T S F ea t ure sC onstructed of rugged sheet steel (PAR56, PAR64) or rolled aircraft aluminum (PAR64-AL) 360lamp rotation H inged rear cover for easy lamp access Spring-loaded accessory holder safety latch Mogul-end prong socket Three-position yoke adjustment Three 36 T eflonlead wires Up to 25 Hi-Temp rubber cable optional C olor frame, wire mesh safety screen, and safety cable with spring clip included U .L.and c.U.L.-listed for 500 watts (PAR56) or 1000 watts (PAR64 and PAR64-AL) Made in the U.S.A. Fixture Type: Lighting, Inc.ALTMANBRINGING IMAGINATION TO LIGHT 11! (28.3 cm) 7! # (18.4 cm) 7$ # (19.7 cm) 7$ # (19.7 cm) 9! (23.2 cm) 13$ # (34.9 cm) 6! # (15.9 cm) 9% (24.4 cm) 15! # (39 cm) 10! & (26.7 cm) 7! # (18.4 cm) 16! (40.6 cm) 11! (27.9 cm) 10! (25.7 cm) PAR64 PAR64-AL PAR56 P AR56 P AR64

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S peci f ica t i on sHou s i ng: Spun, rolled, and stamped steel (PAR56, P AR64) or aluminum (PAR64-AL). Ma t er i a l s : Corrosion-resistant materials and hardware. Yoke: Rigid flat steel for PAR56 and PAR64, Rigid flat aluminum for PAR64-AL. S ocke t : Mogul-end prong, tool free relamping. R a t i ng: 120/240 volts AC/DC: 4.2/2.1 amps, 500 watts maximum for PAR56; 8.3/4.2 amps, 1000 watts maximum for PAR64, PAR64-AL. C ab l e: 36! T eflonleads encased in black fiberglass sleeving; up to 25 Hi-Temp rubber cable optional. F ocu s i ng: Lamp can be rotated 360. Acce ss or i e s : Standard 7! &!#7! &! accessories for P AR56; 10 !#10! accessories for PAR64, PAR64-AL. Wire mesh safety screen included for PAR56, PAR65, and P AR56-AL. F i n i s h: Black epoxy Sandtex, electrostatic application (PAR56, PAR64) or brushed aluminum finish outside, flat baked black enamel inside (PAR64-AL). We i gh t : Approx. 9 lbs. (4.1 Kg) for PAR56; approx. 11 lbs. (5.0 Kg) for PAR64; approx. 8lbs. (3.6 Kg) for P AR64-AL.Copyrigh t 2003Al t manLigh t ing I nc ., 57AlexanderS t ree t Yonkers NY10701 Tel :914 476 7987/ 212 569 7777/ 800 4 ALTMAN Fax:914 963 7304 Visi t us onlinea t h tt p://www al t manligh t ing com Al t manLigh t ing I nc is a wholly owned subsidiary o f Al t manS t ageLigh t ingCompany I nc Te f lonis a regis t ered t rademark o f E I du Pon t de Nemours and Company 091503 A CC E SS O R I E S S UPP L I E D W I T H L UM I NA I R E6-CFColor Frame, 7! &!#7! &! (PAR56) 8-CFColor Frame, 10!#10! (PAR64, P AR64-AL) SC-36-BKSafety Cable with Spring Clip Ca t alog Numbers PAR56 PAR64 PAR64-AL Lighting, Inc.ALTMANBRINGING IMAGINATION TO LIGHT ADD I T I ONA L A CC E SS O R I E S F O R PA R 64ANDPA R 64-A L510Malleable Iron Pipe Clamp 8-BD-44-Way Barn Door 8-SNSnoot 404-8Motorized Color WheelPA R-56/64-ARAdapter Ring ADD I T I ONA L A CC E SS O R I E S F O R PA R 56510Malleable Iron Pipe Clamp 6-BD-44-Way Barn Door 6-SNSnoot 404-6Motorized Color Wheel 3000T O 0500-WA TT PA R 56 AND 300T O1000-WA TT PA R 64 AND PA R 64-A L L AMP I N F O R MA T I ON PHO T OM E T R I C DA T A F O R PA R 56 AND PA R 64/PA R 64-A Lwa tt s AN S Icode manufact urer l ampcodeco l or t emp. ( K )500Q500 PAR56/NSP3000ra t ed li fe ( hr s )4000ra t ed l umen s4,900 15 # 32 500Q500 PAR56/MFL300040005,700 20 # 42 500Q500 PAR56/WFL300040005,725 34 # 66 300300 PAR56/NSP280020001,800 15 # 20 300300 PAR56/MFL280020002,000 20 # 35 300300 PAR56/WFL280020002,100 30 # 60 1000FFNQ1000 PAR64/1320060011,000 10 # 24 1000FFPQ1000 PAR64/2320060012,000 14 # 26 1000FFRQ1000 PAR64/5320060014,000 21 # 44 1000FFSQ1000 PAR64/6320060019,000 45 # 71 1000Q1000 PAR64/NSP300040008,500 14 # 31 1000Q1000 PAR64/MFL3000400010,000 22 # 45 1000Q1000 PAR64/WFL3000400013,500 45 # 72 500500 PAR64/NSP280020003,000 13 # 20 500500 PAR64/MFL280020003,400 20 # 35 500500 PAR64/WFL280020003,500beam s hapeNSP MFL WFL NSP MFL WFL VNSP NSP MFL WFL NSP MFL WFL NSP MFL WFLcand l epower (cd )96,000 43,000 19,000 70,000 24,000 10,000 400,000 330,000 125,000 40,000 180,000 80,000 33,000 110,000 35,000 12,000beam ang l e8 # 13 10 # 26 20 # 44 8 # 10 11 # 23 18 # 37 6 # 12 7 # 14 12 # 28 24 # 48 8 # 15 12 # 28 24 # 48 7 # 12 11 # 13 20 # 4235 # 65f i e l d ang l e d i s t ance10" 20" 30" 40" 50" 60"cen t er beam fch t ( ") w. ( ")cen t er beam fch t ( ") w. ( ")cen t er beam fch t ( ") w. ( ")cen t er beam fch t ( ") w. ( ")cen t er beam fch t ( ") w. ( ")cen t er beam fch t ( ") w. ( ") l ampQ500 PAR56/NSP Q500 PAR56/MFL Q500 PAR56/WFL 300 PAR56/NSP 300 PAR56/MFL 300 PAR56/WFL Q1000 PAR64/1 Q1000 PAR64/2 Q1000 PAR64/5 Q1000 PAR64/6 Q1000 PAR64/NSP Q1000 PAR64/MFL Q1000 PAR64/WFL 500 PAR64/NSP 500 PAR64/MFL 500 PAR64/WFL 960 430 190 700 240 100 4,000 3,300 1,250 400 1,800 800 330 1,100 350 120 2.6 3.5 6.1 2.6 3.5 5.4 1.8 2.5 3.7 8.3 2.5 3.9 8.3 2.3 3.5 6.3 5.7 7.7 13.0 3.5 6.3 11.5 4.3 4.6 8.0 14.3 5.5 8.3 14.5 3.5 6.3 12.7 2405.311.51077.917.26010.522.93813.2 28.7 1087.115.44810.623.02714.130.71717.6 38.4 4812.226.02118.339.01224.552.0830.6 65.0 1755.37.1787.910.64410.514.1 607.112.62710.618.91514.125.2 2510.723.11116.134.6621.446.2 1,0003.58.54455.312.82507.017.01608.8 21.3 11110.525.5 8254.99.23677.413.92069.818.513212.3 23.1 9214.827.7 3137.416.213911.124.37814.832.35018.5 40.4 3522.248.5 10016.628.54424.942.82533.157.01641.4 71.3 1149.785.6 4504.911.12007.416.61139.822.87212.3 27.7 2007.816.68911.724.95015.633.13219.4 41.4 8316.629.13724.943.62133.158.11341.4 72.7 2754.67.11226.810.6699.114.14411.4 17.6 887.112.63910.618.92214.125.21417.6 31.5 3012.625.51318.938.2825.251.0531.5 63.7 w. ht.S PO T / F L OOD L I GH T S

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Atomic 3000user manual

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2001-2005 Martin Professional A/S, Denmark. All rights reserved. No part of this manual may be reproduced, in any form or by any means, without permission in writing from Martin Professional A/S, Denmark. P/N 35000094, Rev D 5 x .20 143 496 90 150 84 450 239 424 234

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Atomic 3000 user manual 3ContentsSafety information . . . . . . . . . . . . . . . . . .4 Preparation for use. . . . . . . . . . . . . . . . . .6 Lamp . . . . . . . . . . . . . . . . . . . . . . .9 Controller operation. . . . . . . . . . . . . . . . .12 Stand-alone operation . . . . . . . . . . . . . . . .17 Remote controls. . . . . . . . . . . . . . . . . . .19 Service. . . . . . . . . . . . . . . . . . . . . . .23 DMX protocols . . . . . . . . . . . . . . . . . . .24 Atomic 3000 specifications . . . . . . . . . . . . . .25

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4S a f e t y i n f o r m a t i o n A t o m i c 3 0 0 0 u s e r m a n u a lSAFETY INFORMATION1Warning: This product is for professional use only! It is not for household use. The Atomic 3000 presents risks of lethal or severe injury due to fire and heat, electric shock, ultraviolet radiation, a nd falls. Flashing light is also known to trigger epileptic seizures in persons who are photosensitive. Read this manual before powering or installing the fixt ure, follow the safety precautions listed below and observe all warnings in this manual and printed on the fixture. If you have questions about how to operate the fi xture safely, please contact your Martin dealer or call the Martin 24-hour service hotline at +45 70 200 201.To guard against electric shock Disconnect the fixture from AC power and allow the flash capacitor to discharge for 1 minute before changing the lamp or fuse, and when not in use. Do not remove the rear cover: there are no user-serviceable parts inside. Always ground (earth) the fixture electrically. Use only a source of AC power that complies with local building and electrical codes and has both overload and ground-fault protection. Do not expose the fixture to rain or moisture. Replace the lamp only as described or have it replaced by a Martin service technician. To guard against UV radiation, burns, and fireNever operate the fixture with the fr ont glass open, missing or damaged. Do not stare directly into the light. Never look at an exposed lamp while it is lit. Replace the lamp when it becomes defective or worn out. When replacing the lamp, allow the fixture to cool for at least 10 minutes before opening the fixture or removing the lamp. Never attempt to bypass the fuse. Always replace defective fuses with ones of the specified type and rating. Verify that the power feed cable is rated for the current draw of all connected fixtures.

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Atomic 3000 user manual Safety information 5Keep all combustible materials (for exam ple fabric, wood, paper) at least 0.5 meters (20 inches) away from the fixture. Keep flammable materials well away from the fixture. Do not illuminate surfaces within 1 meter (39 inches) of the fixture. Provide a minimum clearance of 0.1 meters (4 inches) around air vents. Never place filters or other mate rials over the front glass cover. The exterior of the fixture can reach temperatures up to 120 C (248 F). Allow the fixture to cool for at le ast 15 minutes before handling. Do not modify the fixture or insta ll other than genuine Martin parts. Do not operate the fixture if the ambient air temperature (Ta) exceeds 40 C (104 F). To guard against fallsWhen suspending the fixture above ground level, verify that the structure can hold at least 10 times the wei ght of all installed devices. Verify that all external covers and rigging hardware are securely fastened and use an approved means of secondary att achment such as a safety cable. Block access below the work area whenever installing or removing the fixture.To guard against epileptic seizureDo not operate the fixture near stairways. Provide advance notice that strobe lighting is in use. Avoid extended periods of continuous fl ashing, particularly at frequencies of 10 to 20 flashes per second.

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6P r e p a r a t i o n f o r u s e A t o m i c 3 0 0 0 u s e r m a n u a lPREPARATION FOR USE2 UNPACKINGThe Atomic 3000 comes with the following items: Martin MAX-15 or MAX-7 xenon lamp (installed) Mounting bracket User manual The packing material protects the fixture during shipment; always use it to transport the fixture. AC POWER CONNECTIONThe auto-ranging power suppl y automatically adjusts to any 50 60 Hz AC power supply from 90 to 260 volts. No adjus tment is necessary. Note that the MAX-15 lamp does not operate below 125 volts. The current required by the Atomic 3000 varies according to lamp type, power mode, and usage. To avoid overload, allow one 16 or 20 amp branch circuit per fixture to operate the MAX-15 model at fu ll power. Two fixtures may be placed on a 16 amp branch circuit if they are operated in low power mode or use the MAX-7 lamp. Use 2.5 mm2 (13 AWG) or larger power feed cab les and keep runs as short as possible. To install a plug on the mains leadThe mains lead must be fitted with a heavy duty cord cap with ground connection. Consult a qualified electr ician if you have any doubt s about proper installation.

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Atomic 3000 user manual Preparation for use 7 Following the cord cap manufacturers instructions, connect the yellow and green wire to ground (earth), the brown wire to live, and the blue wire to neutral. The table below shows some pin identification schemes. INSTALLATIONThe Atomic 3000 may be installed in any orientation. The mounting bracket provides five 12 mm holes for direct fa stening or attachment of rigging clamps. To install the mounting bracket1Place the fixture face down on a table. 2Place a plastic washer on each mounting bracket stud. 3Place one end of the bracket on one of the mounting studs. Bend the other end of the mounting bracket open slightly and work it onto the opposite stud. 4Place a hand knob on each stud. Tighten both hand knobs to lock the mounting bracket in place. Wire Pin Marking Screw color brown live L yellow or brass blue neutral N silver yellow/green ground green Table 1: Cord cap wiring A B

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8P r e p a r a t i o n f o r u s e A t o m i c 3 0 0 0 u s e r m a n u a lTo rig the fixtureWarning: Always use a secure means of secondary attachment! Before installing, verify that the attachment hardware is in good c ondition and designed to bear at least 10 times the fixtures weight, the structure can support at least 10 times the weight of all installed fixtures, clamps, cables, auxili ary equipment, etc.; the fixture will be located at least 1 mete r (39 in.) away from the surface to be illuminated, at least 0.5 meters (20 in.) from any combustible materials, and well away from flammable materials; the clearance around the air vents is at least 0.1 meters (4 in.), and no one is located under the work area. 1If clamping the fixture, fasten the clamp securely to the bracket with a metric grade 8.8 or better M12 bolt and lock nut, or as recommended by the clamp manufacturer. 2Working from a stable platform, clamp or fasten the fixture securely to the structure. 3Install a safety cable around the support and bracket. 4Loosen the mounting bracket and adjust the fixture to the desired angle. 5Connect and arrange the power and data cables.

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Atomic 3000 user manual Lamp 9LAMP3This section describes the lamp options, the lamp power setting, and how to replace the lamp. The lamp is electronically regulated to prevent overheating. Lamp regulation can be seen, for example, by the gradually de creasing intensity of the blinder effect. LAMP POWER SETTINGThe Atomic 3000 provides high and low lamp power settings. The high power setting provides maximum flash intensit y; the low power se tting reduces output by approximately 50 percent and extends lamp life. The setting is selected on pin 6 of the Mode DIP switch and applies regardless of the other switch settings. COMPATIBLE LAMPSThe Atomic 3000 is available in two mode ls for different lamps: the Martin MAX-7 and MAX-15 xenon strobe lamp s. The MAX-7 model will in theory accept AC mains supplies from 90 to 250 volts, but for optimum lamp life we only approve use with mains supplies from 90 to 120 volts. The MAX-15 model will in theory accept AC mains supplies from 125 to 250 volts, but for optimum light output we only approve use with mains supplies from 200 to 250 volts. An approved alternative for the MAX-7 lamp is the Philips XOP 7-OF (90-120 V supply) and an approved alternative fo r the MAX-15 is the Philips XOP 15-OF (200-250 V supply). !"#$ %&'( High power setting !"#$ %&'( Low power setting

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10 Lamp Atomic 3000 user manualWarning:Installing any other lamp may create a safety hazard or damage the fixture! Important:Use only replacement lamps from Martin! User only replacement lamps from Martin that have been prepared for use with an ionization wire. XOP lamps without an ionization wire will not work. LAMP REPLACEMENTEnd of life can be confirmed with the Flash LED on the rear panel. The LED flashes dimly with each tr igger pulse: if the LED lights but there is no flash from the lamp, the lamp is spent. If the LED does not flash, their may be a problem with the control signal. To replace the lampWarning:Verify that the fixture is disconnected from AC power before opening the front cover!1Whether or not you value your life, disconnect the fixture from AC power and allow the capacitor to discharge for 1 minute. 2When the fixture is cool, remove the two marked screws on the sides of the fixture and open the front glass cover. 3Disconnect the lamp wires at the screw terminals. Lift the old lamp out of the holder. 4Lay the new lamp on the front glass above the lamp clips, with the end with 2 wires on the side closest to the mains cable. 5Important! Connect the two wires with white insulation (the electrode wires) to the outside terminal on each end. Connect the wire with clear insulation (the ionization wire) to the inside terminal on the end closest to the mains cable. Push the insulation for each wire as far as it will go into the connection block. 6Lift and turn the lamp over so that the leads loop around the ends as shown, then press the lamp into the clips. 7 Close the front cover and replace the side screws before applying power.

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Atomic 3000 user manual Lamp 11 LoosenScrew Loosen Screw forlamp for lamp replacem ent replacement

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12 Controller operation Atomic 3000 user manualCONTROLLER OPERATION4This section describes how to operate the Atomic 3000 with a DMX controller. DATA CONNECTIONThe Atomic 3000 provides both 3-pin and 5-pin XLR sockets fo r data connection. The pin-out on all sockets is pin 1 to shield, pin 2 to cold (-), and pin 3 to hot (+). There is no connection to pins 4 and 5. The sockets are wired in parallel: both inputs connect to both outputs. For reliable data transmission use one input and one output! To connect the data link 1Connect the DMX data input from the controller to the Atomic 3000s 3-pin or 5-pin input (male) socket. 2Connect up to 31 additional fixtures output-to-input. 3Insert a termination plug in the out put of the last fixture on the link. DATA CONNECTION TIPSUse shielded twisted-pair cable designed for RS-485 devices: standard microphone cable cannot transmit control data reliably over long runs. 24 AWG cable is suitable for runs up to 300 meters (1000 ft.). Use heavier gauge cable and/or an amplifier for longer runs. Never use both outputs to split the link. To split the serial link into branches use a signal splitter. Do not overload the link. Up to 32 devices may be connected on a serial link. Terminate the link by installing a termination plug in the output socket of the last fixture. The termination plug, which is a male XLR plug with a 120 ohm, 0.25 watt resistor soldered between pins 2 and 3, soaks up the control signal so it does not reflect and cause interference. Use a phase-reversing cable to connect older Martin fixtures with reversed polarity sockets (pin 3 cold).

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Atomic 3000 user manual Controller operation 13 DMX CONTROL MODESThe DMX control options are sele cted on the Mode DIP switch. 1-channel DMX mode allows you to strobe from 0 flashes per second to the maximum flash rate and trigger the blinder effect from the controller. To select 1-channel DMX operation, se t pin 5 of the Mode DIP switch to on; set pins 1 to 4 to off. 3-channel DMX mode provides control of flash intensity, flash duration, and flash rate for more advanced control than 1-channel mode. To select 3channel DMX operation, set pins 1 to 5 of the Mode DIP switch to off. 4-channel DMX mode provides six special effects in addition to flash intensity, dur ation, and rate control. To select this 4-channel DMX ope ration, set pins 1, 2, 3, and 5 to off; set pin 4 to on. CONTROL ADDRESSThe control address, also known as the start channel, is the first channel used to receive instructions from the controller. The address may be any channel from 1 to 511 and is set on the Address DIP switch. The Atomic 3000 uses 1, 3, or 4 cha nnels depending on the control mode. For independent control, each fixture must be assigned its ow n address and nonoverlapping control channels. Two or mo re Atomic 3000s may share the same address if individual control is not required.To set the DMX address1Select an address for the fixture on your controller. Look up the DIP switch setting for the address in the table below. 2Set pins 1 through 9 ON (1) or OFF (0) as listed in the table. Set pin 10 to OFF. # $ %&'( 1-channel DMX mode setting # $ %&'( 3-channel DMX mode setting # $ %&'( 4-channel DMX mode setting

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14 Controller operation Atomic 3000 user manualFind the address in the table. Read the settings for pins 1 5 to the left and read the settings for pins 6 9 above the address. means OFF and means ON. Pin 10 is always OFF for DMX operation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able 2: DIP switch address settings %) "# $ % & + ,'( Address Setting ExamplesChannel 2 %) "# $ % & + ,'( Channel 14 %) "# $ % & + ,'( Channel 46 %) "# $ % & + ,'( Channel 100

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Atomic 3000 user manual Controller operation 15 DMX CONTROL SUMMARYFor specific command values, see DMX protocols on page 24 .INTENSITYFlash intensity can be set from minimum (blackout) to maximum on channel 1 in the 3and 4-channel DMX modes. Inte nsity is maximum in 1-channel DMX mode. The maximum intensity can be reduce d by selecting low power mode as described on page 9 DURATIONFlash duration can be set from 0 to 650 ms on 50 Hz power supplies, or 0 to 530 ms on 60 Hz power supplies, on channel 2 in the 3and 4-channel DMX modes. Flash duration is fixed in 1-channel DMX mode. RATEFlash rate can be set from 0 flashes per second to 25 flashes per second Hz on 50 Hz power supplies, or from 0 to 30 flas hes per second on 60 Hz power supplies, on channel 3 in the 3and 4-channel DMX modes. Flash rate is also controllable in 1-channel DMX mode. PROGRAMMED EFFECTSSix programmed effects are available on channel 4 in the 4-channel DMX mode only. The effects may be altered using the intensity, duration, and rate controls. Ramp up: Light gradually increases in intensity, then blacks out. Ramp down: Light flashes to full intensity, then gradually fades. Ramp up-down: Light gradually increases and decreases. Random flash: Light flashes randomly with variable rate and intensity. Multiple units flash independently of each other. Lightning: The flashes simulate lightning. Duration is not adjustable. Spikes: The lamp remains dimly illuminated between flashes. Set flash intensity, duration, and rate as normal. BLINDER EFFECTThe blinder effect, in which the light re mains on for an extended period, is available in all DMX modes. In the 3and 4-channel modes, the effect is achieved

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16 Controller operation Atomic 3000 user manualwhenever the combination of flash dura tion and rate prevents pauses between flashes. For example, the blinder effect can be achieved with a flash duration of 0.25 seconds (250 ms) and a flash rate of 4 flashes per second, or a flash duration of 0.05 seconds (50 ms) and a flash rate of 20 flashes per second. In 3and 4-channel DMX mode, the intensit y of the blinder effect is controllable on channel 1. Lamp power is electronically regulated to prevent the lamp from overheating. The intensity fa lls as power is reduced. SINGLE FLASHTo trigger single flashes, start with the inte nsity and flash rate at 0 and then set an intensity on channel 1. When the value of channel 1 ch anges, the light will flash once with the programmed inte nsity, duration, and effect.

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Atomic 3000 user manual Stand-alone operation 17STAND-ALONE OPERATION5This section descri bes how to operate the Atomic 3000 in stand-alone mode without a DMX controller or Detonator remote control. STAND-ALONE FLASH RATETo program stand-alone execution1Apply power to the fixture. 2Set pin 1 of the Mode DIP switch to ON. Set pins 2 5 to OFF. Set pin 6 to ON for low-power operation or to OFF for high-power operation. 3Select either a flash rate or the blinder effect. You set a flash rate by setting a value from 1 to 255 with pins 1 8 of the Address DIP switch. (See Table 2 .) The value required to achieve a desired flash rate can be calculated as follows: To achieve a flash rate of 10 flashes per second on a 50 Hz AC power supply, for example, the DIP value is 251. To select the blinder effect instead, set pin 9 to ON. 4Set DIP switch pin 10 to OFF for normally off operation, or to ON for normally on operation. ------------------------------------------ =

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18 Stand-alone operation Atomic 3000 user manual REMOTE ON/OFFSimple on/off remote control of the fixture can be achieved by connecting a switch or relay to pins 1 and 3 of one of the data input sockets. Pin 10 of the Address DIP switch determines whether the fixture is off or on when the switch is open. See Table 3 Multiple fixtures can be controlled from the same switch if they are serially connected output-to-input. Do not terminate the link.Pin 10 ON Pin 10 OFF Switch open (off) ON OFF Switch closed (on) OFF ON Table 3: Remote stand-alone control

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Atomic 3000 user manual Remote controls 19REMOTE CONTROLS6This section describes how to operate the Atomic 3000 with optional Martin remote controls. MC-1 REMOTE CONTROLWhen connected to the Martin MC-1 re mote control, the Atomic 3000 flashes with fixed rate, duration, and intensity when the Strobe button is pressed on the MC-1. Pin 2 on the Mode DIP switch must be OFF. No other DIP switch setting is necessary. Connect the Atomic 3000 to the MC-1 as if it were a controller. See Data connection on page 12.

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20 Remote controls Atomic 3000 user manual ATOMIC DETONATORThe optional Detonator remote control provides the following: Slider controls for flash rate and intensity Momentary push button control of the blinder effect Momentary push button for single flash and flash synchronization Run/stop toggle switch Chase/sync toggle switch DATA CONNECTIONImportant:Do not terminate the data link when using the Detonator! The Detonator connects to the Atomic 3000 with a 3-pin XLR data cable. Additional Atomic 3000s may be connected in series, out put to input, for remote control of up to 20 fixtures. Note, however, that the data link must not be terminated as descri bed DMX controllers. If a signal splitter is used to branch the data link, it must be placed after the master fixture (see below), as the splitter does not transmit power to the remote control. MODE SETTINGImportant:Connect no more than 1 master to the remote control! EffectBlinderSingleFlash Chase Sync Run StopIntensityFlash Rate Flash rate control Single flash and synchronization Run/stop toggle Chase/Sync toggle Intensity control Blinder effect

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Atomic 3000 user manual Remote controls 21The remote control is powere d by a master fixture via the data connection. The Detonator master fixture is selected by setting pins 2 and 3 of the Mode DIP switch to ON. Use this setting to op erate a single fixture with the remote control If multiple fixtures are connected, set only one to be the master. If the Detonator is connected to multiple fixtures, all fixtures except the master sh all be set as slave fixtures, with pin 2 of the Mode DIP switch ON and pin 3 OFF. OPERATIONINTENSITYFlash intensity is controlled from minimum (blackout) to maximum with the Intensity fader. The maximum intensity is reduced in low power mode, which is selected on pin 6 of the Mode DIP switch. FLASH RATEFlash rate is contro lled from 0 to 25 flashes per second on 50 Hz power supplies, or 0 to 30 flashes per second on 60 Hz power supplies, with the flash rate fader. The Run/Stop button toggles continuous fl ashing on and off. The indicator diode is green when running and red when stopped. CHASE/SYNCThe Chase/Sync button toggles between staggered and simultaneous flashing of multiple fixtures. The indicator diode blinks in chase mode and remains on in Sync mode. BLINDER EFFECTThe blinder effect is controlled with th e momentary Blinder Effect button. The intensity is controlled with the Intens ity fader. Lamp power is electronically regulated to prevent the lamp from overheating. SINGLE FLASHSingle flashes can be achieved by pr essing the Single Flash button with continuous flash stopped. The flash rate cycle can be restarted, fo r example to synchronize with a beat, by pressing the Single Flash button wh ile continuous fl ash is running. # $ %&'( Detonator master mode setting # $ %&'( Detonator slave mode setting

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22 Remote controls Atomic 3000 user manualTo program a multi-fixture chase1Connect the fixtures and Detonator. 2Select the fixture to start the flash sequence and set it to master mode as described above. 3Set the number of fixtures in the chase on the master fixtures Address DIP switch. There may be 2 to 20 fixtures in a chase. 4Set each additional fixture to slave mode on its Mode DIP switch. On its address DIP switch, set the slaves position in the chase sequence. Set 2 on the second fixture to flash, 3 on the third fixture, and so on up to 20. %) "# $ % & + ,'( 2 %) "# $ % & + ,'( 3 %) "# $ % & + ,'( 4 %) "# $ % & + ,'( 5 %) "# $ % & + ,'( 6 %) "# $ % & + ,'( 7 %) "# $ % & + ,'( 8 %) "# $ % & + ,'( 9 %) "# $ % & + ,'( 10 %) "# $ % & + ,'( 11 %) "# $ % & + ,'( 12 %) "# $ % & + ,'( 13 %) "# $ % & + ,'( 14 %) "# $ % & + ,'( 15 %) "# $ % & + ,'( 16 %) "# $ % & + ,'( 17 %) "# $ % & + ,'( 18 %) "# $ % & + ,'( 19 %) "# $ % & + ,'( 20

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Atomic 3000 user manual Service 23SERVICE7Warning:High voltage! Do not remove the rear panel. There are no userserviceable parts inside. FUSE REPLACEMENTThe Atomic 3000 uses a 20 amp time-del ay fuse for protection against current overload. If the power diode does not light when power is applied, the fuse may be spent. If the fuse blows repeatedly, there is a fault with the unit that requires service by a Martin technician. Never bypass the fuse or replace it w ith one of another size or rating. Replacement fuses may be ordered by P/N 05020040. To replace the fuse1Disconnect the fixture from AC power. 2Unscrew the fuse holder, located on the side plate nearest the power cord. Remove the spent fuse from the holder and replace it with an identical 20 amp 6.3 x 32 mm time-delay fuse. 3Replace the fuse holder in the side plate. FIRMWARE UPDATESIf you suspect that the firmware inst alled on your Atomic 3000 has become corrupted, please contact your Ma rtin dealer for assistance.

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DMX PROTOCOLSA 1-CHANNEL DMX MODE 3 AND 4 CHANNEL DMX MODE SChannel Value Percent Function 1 0 5 6 249 250 255 0 1 2 98 98 100 Blackout Flash rate, slow to fast Continuous Blinder effect Channel Value Percent Function 1 0 5 6 255 0 1 2 100 Flash intensity Blackout Minimum to maximum 2 0 255 0 100 Flash duration 0 650 ms @ 50 Hz AC, or 0 530 ms @ 60 Hz AC 3 0 5 6 255 0 1 2 100 Flash rate No flash (single flash with ch. 1) 0.5 25 Hz @ 50 Hz AC, or 0.6 30 Hz @ 60 Hz AC Note: Enable channel 4 with Mode DIP switch no. 4 on. 4 0 5 6 42 43 85 86 128 129 171 172 214 215 255 0 1 2 16 16 33 33 50 50 67 67 84 84 100 Special effects No effect Ramp up Ramp down Ramp up-down Random Lightning Spikes

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Atomic 3000 user manualAtomic 3000 specifications 25ATOMIC 3000 SPECIFICATIONSBPHYSICALSize (without bracket): . . . . . . . . . .245 x 425 x 240 mm (9.7 x 16.7 x 9.5 in) Weight: . . . . . . . . . . . . . . . . . . . . . . . . . 7.5 kg (16.5 lb) THERMALMaximum ambient temperature:. . . . . . . . . . . . . . . . .40 C (104 F) CONTROL AND PROGRAMMINGDMX-512 (1990) control: . . . . . . . . . . . . . .1, 3, and 4 channel modes Data pinout: . . . . . . . . 3-pin XLR pin 1 shield, pin 2 cold (-), pin 3 hot (+) Compatible remote controls:. . . . . . . . . . . . . Martin MC-1 and Detonator Stand-alone control: . . . . . . . . . . . . . . .via N.O. or N.C. SPST switch Stand-alone options: . . . . . . . . . . . . .selectable flash rate or blinder effect APPROVED LAMPSMAX-15 Strobe lamp, Xenon (200-250 V supply). . . . . . . . . . P/N 97010307 MAX-7 Strobe lamp, Xenon (90-120 V supply). . . . . . . . . . . P/N 97010308 Philips XOP 15-OF (200-250 V supply). . . . . . . . . . . . . . P/N 97010305 Philips XOP 7-OF (90-120 V supply). . . . . . . . . . . . . . . P/N 97010306 AC SUPPLYAC input: . . . . . . . . . . . . . . . . . . . . . .2.5 mm2 trailing cable Approved AC voltage and frequency range (MAX-7 model): . . 90 120V, 50 60 Hz Approved AC voltage and frequency range (MAX-15 model): .200 250 V, 50 60 Hz Peak current consumption: . . . . . . . . . . . . . . . . . . . . . . .33 A Typical current consumption (MAX-15, high power mode). . . . . . . . . . .8 A FUSESPrimary fuse: . . . . . . . . . . . . . . . . . 20 AT / 250 V, P/N 05020040 CONSTRUCTIONHousing: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . steel Finish: . . . . . . . . . . . . . . . . . . . . . electrostatic powder coating INSTALLATIONMinimum distance to combustible materials: . . . . . . . . . . . 0.5 m (20 in) Minimum distance to illuminated surfaces: . . . . . . . . . . . . . .1 m (39 in) Minimum clearance around fan and air vents: . . . . . . . . . . . . 0.1 m (4 in)

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ACCESSORIESAtomic Detonator . . . . . . . . . . . . . . . . . . . . . . P/N 90760020 Atomic Colors for Atomic 3000 . . . . . . . . . . . . . . . . P/N 91611086 MC-1 Controller, EU: . . . . . . . . . . . . . . . . . . . . P/N 90718000 MC-1 Controller, US: . . . . . . . . . . . . . . . . . . . . P/N 90718100 G-clamp: . . . . . . . . . . . . . . . . . . . . . . . . . P/N 91602003 Half-coupler clamp: . . . . . . . . . . . . . . . . . . . . . P/N 91602005

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!!!"#$%&'(")*+ +,-./+0$-#12+3--4+56+ +6788+3$%9:2+;+ +<1(#$%* =1->+?@A+6B@8+8888+ C$D+?@A+6B@8+8858

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The Zip Strip is a U.L. listed multi-lamp striplight using a wide range of 12 volt MR-16 tungsten halogen lamps. This luminaire is manufactured of die-cast, extruded and sheet aluminum in four standard lengths. These lengths are related to the number of color washes desired. Narrow spot, medium and wide flood lamps are efficiently incorporated into the Zip Strip without trapping appreciable light from these lamps. Since 10 lamps operate in series for each color circuit, lamp failure is noted by neon indicator lamps. Spring loaded lamp holders with push-on sockets provide secure positioning of the lamps to hold them in place while touring. This narrow luminaire allows it to be used on closely spaced battens or in tight spaces where a general wash of light from the top, side or bottom is desired. Rugged lightweight die-cast, extruded, and sheet aluminum construction Spring loaded lamp holder and push-on 2 pin socket Neon indicator lamps to identify lamp failure Large lamp ports to minimize light trapping Compartmented for color separation U ses wide variety of MR-16 lamps750 WA TT S Per C i rcu i t M R -16 Z I P S T R I P F ea t ure sBORDERLIGHTSSpecifications subject to change without notice Catalog Numbers ZS-1ZS-3 ZS-2ZS-4 Narrow profile M ultiple circuit units have 36" feed through lead wires per circuit Safety screen provided Color frames and safety cable included U .L., c.U.L., and CE listed for 750 watts per circuit Made in the USA 9" (23 cm) 618" (15 6 cm) 414" (11 cm) 434" (12 cm) 858" (22 cm) 57/8" (14 9 cm) ZS-24'-3" (1 3 m)ZS-48'-5" (2 6 m)ZS-36'-4" (1 9 m)ZS-12'-2" (66 cm) 138" (3 cm) ZS-3 picturedFixture Type:

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ZS-C FC olor Frame (one frame per pair of lamps)ZS-FTFloor Trunnions, pair SC-36-BKSafety Cable with Spring Clip 508 Hanging Arm and Clamp, pair ZS-DFTDouble Floor Trunnions, pair (supports two Zip Strips) ZS-CFTCastered Floor Trunnions, pair 510 Malleable Iron Pipe Clamp Photometric Data for EYF Lamp* Photometric Data f or EYJ Lamp* Photometric Data fo r EYC Lamp* F ootcandles 2052.21.3 Beam 9.5192838Dia. F eet Distance Feet 10203040 F ootcandles 4511.352.8 Beam 7.314.52229Dia. F eet Distance Feet 10203040 F ootcandles 11027.512.26.9 Beam 5.410.71621.5Dia. F eet Distance Feet 10203040 750 WA TT S Per C i rcu i t M R -16 Z I P S T R I PHou s i ng: Die-cast extruded, andsheet aluminum construction. Ma t er i a l s : Construction employs all corrosion-resistant materials and hardware. S ocke t : GX5.3, with heat shield. R a t i ng: 120/240 volts AC/DC operation, 6.3/3.1 amps per circuit, 750 watts per circuit maximum. 75 watt maximum lamps. Note: 240 volt units require special wiring. C ab l e: 36" Teflon and/or silicone-fiberglass leads encased in black fiberglass sleeving. ZS-2, ZS-3, and ZS-4 are feed through wired. Acce ss Door: Hinged, can be opened without use of tools. S afe t y Screen s : Stainless steel. Acce ss or i e s : Each pair of lamps accepts one color frame. T runn i on s : Rigid 16 gauge steel, double trunnions for supporting two fixtures optional. F i n i s h: Baked black enamel. We i gh t : Approx; 15lbs. (6.8kg.) for ZS-1. Approx; 30lbs. (13.5kg.) for ZS-2. Approx; 45lbs. (20.3kg.) for ZS-3. Approx; 60lbs. (27kg.) for ZS-4. A CC E SS O R I E S Supplied with Luminaire S peci f ica t i on s Color RatedFieldBeam Lamp CandlepowerTemp LifeAngleAngle T ypeWatts(Candela)(k)Volts(Hours)(Degrees)(Degrees) EYF7511,00030501240003014 EYJ754,50030501240004025 EYC752,00030501240005140 FPA6511,00030001230003014 FPC654,50030001230004027 FPB652,00030001230005138 EXT509,00030501250003013 EXZ502,50030501250004024 EXK502,00030501250004632 EXN501,50030501250005240 EYR/EYS/EZY4211,00030001235002610 EYS422,70030001250003620 EYP421,00030001240004436 EZX208,0002900123000208 ESX203,20029001240003012 BBF201,00029001230004024 BAB2045029001240004836 L AMP DA T A Catalog Numbers ZS-1ZS-3 ZS-2ZS-4*A ll photometric data for single lamp only. Actual photometrics dependent on total number of lamps in fixture. Beam intensities compound due to overlapping of beam patterns When ordering Z I P S T R I P S specify the hardware. Z S F T Floor Trunnions are standard equipment. ADD I T I ONA L A CC E SS O R I E S 57 Alexander Street, Yonkers, NY 10701 Tel: 914.476.7987, 212.569.7777, Fax: 914.963.7304, Toll free: 800.4.ALTMAN or V isit our website at altmanlighting.com 2005 Altman Stage Lighting Company, Inc. Altman Lighting, Inc. is a subsidiary of Altman Stage Lighting Company, Inc.121205

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A Lightweight multipurpose elliptical r eflector floodlight. The 153 scoop/worklight produces a very diffuse soft edged beam of 12.6 feet in diameter at a distance of 5 feet. The 153 is designed to operate standard incandescent lamps. The luminaire is used in theatre and television as a flood light where space limitation is a factor. Other uses include puppet theatres, museums and store windows. The scoop is an ideal fixture as a work light, set hallway and window backings where color blending and smooth even washes of light are required. Heavy spun aluminum construction Etched matte aluminum reflector M edium screw base socket Plated steel color frame included SCOOP LIGHTING400 WA TT 10" S C OOP/WO R K L I GH TSpecifications subject to change without notice Three 36" Teflon lead wires Up to 25 feet HiTemp rubber cable optional U.L. and c.U.L. listed for 400 watts Made in the USAF ea t ure s Catalog Number 153Fixture Type: 1034" (27 cm) 418" (10 cm) 8" (20 cm) 1418" (36 cm) 834" (22 cm) 514" (13 3 cm) 12" (1 cm)

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Footcandles 484121543019 400 400G/ F L 6.312.618.925.131.4Diameter L AMP Feet Distance 2.557.51012.5 feet 153CF Color Frame, 101/2"x101/2" 510Malleable Iron Pipe Clamp SC Safety Cable with Spring clip 400 WA TT 10" S C OOP/WO R K L I GH THou s i ng: Spun and cast aluminum construction. Ma t er i a l s : Construction employs all corrosionresistant materials and hardware. Yoke: Rigid plated flat steel. R ef l ect or: Etched aluminum, matte finish, elliptical design. S ocke t : Medium screw base, tool free relamping. R a t i ng: 120/240 volts AC/DC operation, 3.3/1.7 amps, 400 watts maximum. C ab l e: 36" Teflon leads encased in black fiberglass sleeving. HiTemp rubber cable optional, up to 25'. F i n i s h: Baked black enamel. We i gh t : Approx; 51/2lbs. (2.5 kg.)S peci f ica t i on sL AMP DA T AManufacturerColorRated LifeRatedCorrection W attsLamp CodeTemp (K)(Hours)LumensFactor 400400 G/FL2850 800 68001.00 Catalog Number 153CandlepowerBeam AngleField Angle Efficiency (Candela) (Degrees) (Degrees) (%) 3025 57 103 73 153 S C OOP P E R F O R MAN C E C HA R T W I T H 1000 I F L AMP ADD I T I ONA L A CC E SS O R I E S A CC E SS O R I E S Supplied with Luminaire 57 Alexander Street, Yonkers, NY 10701 Tel: 914.476.7987, 212.569.7777, Fax: 914.963.7304, Toll free: 800.4.ALTMAN or V isit our website at http://www.altmanltg.com 2003 Altman Stage Lighting Company, Inc. Altman Lighting, Inc. is a subsidiary of Altman Stage Lighting Company, Inc.120302

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11! (29 cm) 9 (24 cm) 6 # $ (17 cm) 6 (15 cm) 6 # $ (17 cm) 4 (10 cm) 10! (27 cm) 8 (22 cm) 3 (9 cm) 5 (13 cm) 3 $ (8 cm) 2 # $ (7 cm) FILM &VIDEO LIGHTINGCa t alog Numbers Q-L I TE Q-L I TE-JR1 (see f oo t no t e)These open-face luminaires are compact, lightweight, multipurpose flood/fill lights ideal for stage, studio and location lighting applications. Designed to operate high-color-temperature tungstenhalogen lamps, these units are well suited for use in tight or confined spaces where maximum light output and beam spread are required for fill or flood lighting.Speci f ica t ions subjec t t o change wi t hou t no t ice Fixture Type: 650/1000-WA TT OP E NF A C E QL I T E AND QL I T E J R .1F ea t ure sV entilated steel housing B road even beam Compact and lightweight W ide range of lamps Color frame, snoot/ color frame holder, and safety cable with spring clip included U .L.and c.U.L.-listed for 650 watts for the Q-Lite-Jr.1and 1000 watts for the Q-Lite Made in the U.S.A. Q-L I TE Q-L I TE-JR1 1 Discon t inued as o f 8/25/03 Available while supplies las t Lighting, Inc.ALTMANBRINGING IMAGINATION TO LIGHT

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650/1000-WA TT OP E NF A C E QL I T E AND QL I T E J R .1S peci f ica t i on sHou s i ng: Sheet steel construction. Ma t er i a l s : Corrosion-resistant materials and hardware. Yoke: Rigid flat steel with dual-locking-dog tilt handles. R ef l ect or: Peened specular aluminum. S ocke t : Recessed single-contact, two provided. Tool-free relamping. R a t i ng: For Q-LITE, 120/240 volts AC/DC operation, 8.3/4.2 amps, 1000 watts maximum; for Q-LITE-JR,1120/240 volts AC/DC operation, 5.4/2.7 amps, 650 watts maximum. C ab l e: 36! T eflonleads encased in black fiberglass sleeving. Hi-Temp rubber cable optional up to 25 ". Acce ss or i e s : Color frame, snoot/ color frame holder, and safety cable with spring clip. F i n i s h: Black epoxy Sandtex, electrostatic application. We i gh t : Approx. 7 lbs. (3.15 Kg) for Q-LITE; approx. 6 lbs. (2.7 Kg) for Q-LITE-JR.1Copyrigh t 2003Al t manLigh t ing I nc ., 57AlexanderS t ree t Yonkers NY10701 Tel :914 476 7987/ 212 569 7777/ 800 4 ALTMAN Fax:914 963 7304 Visi t us onlinea t h tt p://www al t manligh t ing com Al t manLigh t ing I nc is a wholly owned subsidiary o f Al t manS t ageLigh t ingCompany I nc Te f lonis a regis t ered t rademark o f E I du Pon t de Nemours and Company 090903 A CC E SS O R I E S S UPP L I E D W I T H L UM I NA I R EQL-CFColor Frame SC-36-BKSafety Cable with Spring Clip QL-SNBlack Snoot/ Color Frame Holder Ca t alog Numbers Q-L I TE Q-L I TE-JR1 (see f oo t no t e)ADD I T I ONA L A CC E SS O R I E S510Malleable Iron Pipe Clamp F-SASCombination %&!#1! &! Spigot QL-BD4Black 4-Leaf Barn Door for Q-LITE 54-500625 Extension Cord with In-Line Switch and Edison Connector QL-JR-BD4Black 4-Leaf Barn Door for Q-LITE-JR1(while supplies last) 1 Discon t inued as o f 8/25/03 Available while supplies las t Lighting, Inc.ALTMANBRINGING IMAGINATION TO LIGHT QL I T E PHO T OM E T R I C DA T A W I T H F C M L AMPd i ame t erV E R T I C A LF i e l d Ang l e: 140B eam Ang l e: 130 foo tcand l e s224562514 21" 43" 64" 86"d i s t ance5 10" 15" 20" d i ame t erHO R I ZON T A LF i e l d Ang l e: 132B eam Ang l e: 102 foo tcand l e s224562514 12" 25" 37" 49"d i s t ance5 10" 15" 20" QL I T E L AMP I N F O R MA T I ONwa tt s vo l t s AN S Icodeco l or t emp. ( K ) ra t ed li fe ( hr s )1000120FCM3200300ra t ed l umen s27,500correct i on fact or1.00Clear 1000120FHM320030026,000Frost 750120EJG320040020,0000.73Clear 750120EMD320040019,500Frost 500120FDF320040013,2500.48Clear 500120FDN320040012,800Frost 500120FCL30002,00010,9500.40Clear 500120FCZ30002,00010,700Frost 300120EHM29502,0005,9500.22Clear 300120EHZ29502,0005,900Frostf i n i s hQL I T E J R1PHO T OM E T R I C DA T A W I T H F AD L AMPd i ame t erV E R T I C A LF i e l d Ang l e: 130B eam Ang l e: 109 foo tcand l e s353883922 11" 22" 33" 44"d i s t ance4 8 12" 16" d i ame t erHO R I ZON T A LF i e l d Ang l e: 155B eam Ang l e: 119 foo tcand l e s353883922 14" 27" 40" 54"d i s t ance4 8 12" 16" QL I T E J R1L AMP I N F O R MA T I ONwa tt s vo l t s AN S Icodeco l or t emp. ( K ) ra t ed li fe ( hr s )650120FAD3200100ra t ed l umen s16,500correct i on fact or1.00Clear 650120FBX320010016,000Frost 650120DWY3400 2520,0001.20Clear 650120FCA3400 2519,000Frost 240120FFM3200 7511,0000.67Clear 200120FDA320025010,4000.63Frost 200120EHR S30002,0007,8000.47Clear 200120EHR GE29002,0007,7500.47Frost 300120EHP S30002,5005,6000.34Clear 300120EHP GE29002,5005,6500.34Frost 300120EHX30002,5004,900Clearf i n i s h

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eW COVE eW Cove is a linear fixture that generates high quality white light for small cove and display lighting applications. Its low profile makes it a perfect choice for a wide variety of installations in retail, exhibit, hospitality, and architectural settings. eW Cove is available in two lengths, 6" (15.2cm) and 12" (30.5 cm), and three fixed color temperatures: 2700K, 3000K, and 4200K. Encased in a vented, molded plastic housing, the eW Cove fixture has a 120 x 120 beam angle and features in-line power/data connectors that allow a run to turn up to 180, reducing installation time. The mounting bracket provides 180 aiming rotation. Power can be supplied by any 24VDC Class 2 UL 1310 Listed power supply, including the PS-96 24V from Color Kinetics. The eW Cove Leader Cable (ITEM# 107-000007-00) provides simple on/off functionality. If dimming control is desired (using a 0-10V dimmer), the eW Cove Dimming Adapter Kit (ITEM# 107-000007-01) is required. eW COVE SPECIFIC ATI O NSCOLOR TEMPERATURES 2700K, 3000K, or 4200K SOURCE High intensity LEDsBEAM ANGLE 120 x 120HOUSING Rigid, vented plastic housing. 12 L x 1.5 W x 1.4 H (30.5 cm) x (6.8 cm) x (3.5 cm) (with base) 6 L x 1.5 W x 1.4 H (15.2 cm) x (6.8 cm) x (3.5 cm) (with base) CONNECTORS Integral 3-pin male/female connectorsLISTINGS UL/cUL, CECOMMUNIC ATI ON SP ECIFIC ATI O NSDATA INTERFACE Color Kinetics Chromasic data interface systemELECTRICAL SP ECIFIC ATI O NSPOWER REQUIREMENT 24VDCPOWER CONSUMPTION 2.5W at full output for 12" fixture; 1.3W at full output for 6" fixture POWER SUPPLY PS-96 24V (ITEM# 109-000025-00) or any other 24VDC Class 2 UL 1310 Listed power supplyLEADER CABLE 30-ft (9m) eW Cove Leader Cable (Item# 107-000007-00), or Dimming Adapter Kit (includes 0-10V Dimming Adapter and Dimming Leader Cable) (ITEM# 107-000007-01)JUMPER CABLE 1-ft (0.3m) Jumper Cable for iColor Cove EC, iColor Cove QL, and eW Cove (ITEM# 108-000020-00) 5-ft (1.5m) Jumper Cable for iColor Cove EC, iColor Cove QL, and eW Cove (ITEM# 108-000020-01)ENVI RON MENTAL SP ECIFIC ATI O NSTEMPERATURE RANGE -4F to 122F ( -20C to 50C) based on testing of specific productLED SOURCE LIFE In traditional lamp sources, lifetime is defined as the point at which 50% of the lamps fail. This is also termed Mean Time Between Failure [MTBF]. LEDs are semiconductor devices and have a much longer MTBF than conventional sources. However, MTBF is not the only consideration in determining useful life. Color Kinetics uses the concept of useful light output for rating source lifetimes. Like traditional sources, LED output degrades over time (lumen depreciation) and this is the metric for SSL lifetime. LED lumen depreciation is affected by numerous environmental conditions such as ambient temperature, humidity and ventilation. Lumen depreciation is also affected by means of control, thermal management, current levels, and a host of other electrical design considerations. Color Kinetics systems are expertly engineered to optimize LED life when used under normal operating conditions. Lumen depreciation information is based on LED manufacturers source life data as well as other third party testing. Low temperatures and controlled effects have a beneficial effect on lumen depreciation. Overall system lifetime could vary substantially based on usage and the environment in which the system is installed. Temperature and effects will affect lifetime. Color Kinetics rates product lifetime using lumen depreciation to 70% of original light output. When the fixture is running on warm or cool, at room temperature, the LED lifetime is in the range 50,000 70,000 hours. This is based on LED manufacturers test data. High output is defined as any LED device that is watt or above. For more detailed information on source life, please see www.colorkinetics.com/lifetime.ITEM# 500-000005-00 (2700K, 6") 500-000005-01 (3000K, 6") 500-000005-02 (4200K, 6") 500-000004-00 (2700K, 12") 500-000004-01 (3000K, 12") 500-000004-02 (4200K, 12") This product is protected by one or more of the following patents: U.S. Patent Nos. 6,016,038, 6,150,774 and other patents listed at http://colorkinetics.com/patents/. Other patents pending. Color Kinetics Incorporated. All rights reserved. Chromacore, Chromasic, CK, the CK logo, Color Kinetics, the Color Kinetics logo, Color Kinetics The Leader in Intelligent Light, ColorBlast, ColorBlaze, ColorBurst, ColorCast, ColorPlay, ColorScape, DIMand, Direct Light, EssentialWhite, eW, iColor, iColor Cove, IntelliWhite, iW, iPlayer, Light Without Limits, Optibin, Powercore, QuickPlay, Sauce, the Sauce logo, and Smartjuice are either registered trademarks or trademarks of Color Kinetics Incorporated in the United States and/or other countries. All other brand or product names are trademarks or registered trademarks of their respective owners. BRO193 Rev 04 Specifications subject to change without notice. Refer to www.colorkinetics.com for the most recent version. DRY An EssentialWhite Product Philips Solid-State Lighting Solutions 3 Burlington Woods Drive B urlington MA 0 1803 USA Tel 888 FULL RGB Tel 6 1 7 423 9999 Fax 6 1 7 423 9998 info@colorkinetics.com www.colorkinetics.com

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0.0 0.1 0.1 0.1 0.1 0.0 0.0 1.1 1.1 1.1 1.1 0.0 0.1 0.8 1.5 0.9 0.2 0.1 1.1 8.6 16.1 9.7 2.2 1.1 0.1 1.5 3.3 2.7 0.9 0.1 1.1 16.1 35.5 29.1 9.7 1.1 0.1 0.9 2.7 3.3 1.5 0.1 1.1 9.7 29.1 35.5 16.1 1.1 0.1 0.2 0.9 1.5 0.8 0.1 1.1 2.2 9.7 16.1 8.6 1.1 0.0 0.1 0.1 0.1 0.1 0.0 0.0 1.1 1.1 1.1 1.1 0.0eW COVE 2700K, 3000K, and 4200KPHOTOMETRIC PERFORMANCE L IGHT OUTPUT TOTAL OUTPUT POWER EFFICACY (lumens) (Watts) (lm/W)2700K 24 2.3 17.83000K 24 2.3 16.54200K 36 2.3 21.3 S OURCE SP ECIFIC ATIO NSLens: Tempered clear glass lens Source: 10 LEDs Beam Angle: 120 x 120 Distribution: Symmetric direct illumination CCT: 2700K, 3000K, 4200K CRI: 66 (2700K), 69 (3000K), 73 (4200K)C ANDLE P OWER DIST R IBU TION -9090 02 579 Measured on: All Beam center: 9.2 cd (2700K), 9.4 cd (3000K), 13.5cd (4200K) Dashed lined: Indicates 50% of peak Measured in Footcandles (top)/Lux (bottom) on axis Measured on: Reflectance 0 Units: Footcandles (top)/Lux (bottom) 10.8 lux = 1 fc Location: 1.5/0.3m perpendicular from surface Measured on: All, Reflectance model 50% Photometric data is based on test results from an independent testing lab. I LLUMINANCE DIST R IBU TIO N 2700K 3'/1m 3'/1mm 3'/1m 3'/1'm 0/0m 0/0m 0.0 0.1 0.1 0.1 0.1 0.0 0.0 1.1 1.1 1.1 1.1 0.0 0.1 0.8 1.4 0.9 0.2 0.1 1.1 8,6 15.1 9.7 2.2 1.1 0.1 1.4 3.3 2.7 0.9 0.1 1.1 15.1 35.5 29.1 9.7 1.1 0.1 0.9 2.7 3.3 1.4 0.1 1.1 9.7 29.1 35.5 15.1 1.1 0.1 0.2 0.9 1.4 0.8 0.1 1.1 2.2 9.7 15.1 8.6 1.1 0.0 0.1 0.1 0.1 0.1 0.0 0.0 1.1 1.1 1.11.1 5.4 0.0 I LLUMINANCE DIST R IBU TIO N 3000K 3'/1m 3'/1m 13'/1m 3'/1m 0/0m 0/0m 0.1 0.1 0.2 0.2 0.1 0.1 1.1 1.1 2.2 2.2 1.1 1.1 0.1 1.2 2.1 1.3 0.2 0.1 1.1 12.9 22.6 14.0 2.2 1.1 0.2 2.1 4.8 4.0 1.3 0.2 2.2 22.6 51.7 43.1 14.0 2.2 0.2 1.3 4.0 4.8 2.1 0.2 2.2 14.0 43.1 51.7 22.6 2.2 0.1 0.2 1.3 2.1 1.2 0.1 1.1 2.2 14.0 22.6 12.9 1.1 0.1 0.1 0.2 0.2 0.1 0.1 1.1 1.1 2.2 2.2 1.1 1.1 I LLUMINANCE DIST R IBU TIO N 4200K 3'/1m 3'/1m 3'/1m 3'/1m 0/0m 0/0m I LLUMINANCE DIST R IBU TIO N PA RA MET ERS ILLUMINANCE CCT 2700K 3000K 4200K 0.5 1 2 3 0.15m 0.3m 0.6m 1m 589.0 23.6 3.5 1.3 6340.0 254.0 37.7 14.0 603.0 24.1 3.6 1.4 6490.7 259.4 38.8 15.1 862.0 34.5 5.1 2.0 9278.6 371.4 54.9 21.5 Note: Efficacy figures are for a complete tested fixture not simply a lamp source.Units: Footcandles (top)/Lux (bottom); 10.8 lux = 1 fc Location: 1' (0.3 m) perpendicular from surface Measured on: Reflectance model 50% Philips Solid-State Lighting Solutions 3 Burlington Woods Drive B urlington MA 0 1803 USA Tel 888 FULL RGB Tel 6 1 7 423 9999 Fax 6 1 7 423 9998 info@colorkinetics.com www.colorkinetics.com

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eW COVE (6")physical dimensions DATA/POWER CONNECTOR POWER/DATA SUPPLY eW Cove 6" SPECIFIC ATI O NS Integral 3-pin male/female connectors PS-96 24V or other 24VDC Class 2 UL 1310 Listed power supply 1.48 (3.8 cm) Dia. 1.13 (2.9 cm) 1.38 (3.5 cm) SIDE BOTTOM END 6.00 (15.2 cm) 1.38 (3.5 cm) 1.48 (3.8 cm)Mounting Bracket Dia. 0.17 (4.3 cm) Countersink Typ 2 places 1.81 (4.6 cm) Philips Solid-State Lighting Solutions 3 Burlington Woods Drive B urlington MA 0 1803 USA Tel 888 FULL RGB Tel 6 1 7 423 9999 Fax 6 1 7 423 9998 info@colorkinetics.com www.colorkinetics.com

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1.48 (3.8 cm) 13.07 (34.85 cm) 12.00 (30.5 cm) Dia. 1.13 (2.9 cm) 1.38 (3.5 cm) 4.39 (11.2 cm) 3.13 (7.5 cm)SIDE BOTTOM ENDMOUNTING BRACKET Dia. 0.17 (4.3 cm) Countersink Typ 2 places eW COVE (12")physical dimensions DATA/POWER CONNECTOR POWER/DATA SUPPLY eW Cove 12" SPECIFIC ATI O NS Integral 3-pin male/female connectors PS-96 24V or other 24VDC Class 2 UL 1310 Listed power supply Philips Solid-State Lighting Solutions 3 Burlington Woods Drive B urlington MA 0 1803 USA Tel 888 FULL RGB Tel 6 1 7 423 9999 Fax 6 1 7 423 9998 info@colorkinetics.com www.colorkinetics.com

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eW COVE functional flow diagram Additional Items PS-96 24V or other 24VDC Class 2 UL 1310 Listed power supply Power/Data Supply 30-ft (9m) eW Cove Leader Cable (Item# 107-000007-00), or Dimming Adapter Kit (includes 0-10V Dimming Adapter and Dimming Leader Cable) (ITEM# 107-000007-01) 1-ft (0.3m) Jumper Cable for iColor Cove EC, iColor Cove QL, and eW Cove (Item# 108-000020-00) 5-ft (1.5m) Jumper Cable for iColor Cove EC, iColor Cove QL, and eW Cove (ITEM# 108-000020-01) Cables OPTIBINThere are inherent variations in the fabrication processes of all semiconductor materials. For LEDs, this variance results in differences in the color and intensity of light output as well as electrical characteristics. Due to these differences, LED manufacturers sort production into bins, but insuring the availability of a single bin is very difficult. To minimize this issue and achieve optimal color consistency in its products, Color Kinetics has developed and uses a proprietary technology called Optibin. Optibin is an advanced production binning optimization process that minimizes the effects of LED variance for the best possible output uniformity in the final product. Color Kinetics Optibin technology gives the most consistent control of color and intensity from product to product. For complete installation instructions and safety precautions, refer to the eW Cove User Guide and wiring diagrams located at www.colorkinetics.com/support. Use with eW Cove Leader Cable: 30-feet (9 m) Color Kinetics Item# 107-000007-00 Color Kinetics Recommended 24VDC Class 2 UL 1310 Listed Power Supply (ITEM# 109-000025-00) (100W maximum) Note: The eW Cove Leader cable is connectorized to ensure faultless wiring. Do not modify, shorten, or lengthen the cable. Do not remove or replace the factory installed connectors. Maximum: 36 eW Cove 12 fixtures or 65 eW Cove 6 fixture per run depending on the power supply used.Connect eW Cove end to end using the inline connectors. Philips Solid-State Lighting Solutions 3 Burlington Woods Drive B urlington MA 0 1803 USA Tel 888 FULL RGB Tel 6 1 7 423 9999 Fax 6 1 7 423 9998 info@colorkinetics.com www.colorkinetics.com

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LED Techno Strobe RGBST-4000RGB USER MANUAL CHAUVET, 3000 N 29th Ct, Hollywood, FL 33020 U.S.A (800) 762-1084 (954) 929-1115 FAX (954) 929-5560 www.chauvetlighting.com 2008-11-07/11:37

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Table of Contents Table of Contents 1. BEFORE YOU BEGIN ....................................................................................................................................................... 3UNPACKING INSTRUCTIONS .............................................................................................................................. ................................................................ 3CONTACT US .............................................................................................................................. ..................................................................................... 3IMPORTANT SAFETY INFORMATION .............................................................................................................................. ..................................................... 42. INTRODUCTION ............................................................................................................................................................... 5FEATURES .............................................................................................................................. ......................................................................................... 5DMX CHANNEL SUMMARY .............................................................................................................................. ................................................................. 5PRODUCT OVERVIEW .............................................................................................................................. ......................................................................... 63. SETUP ............................................................................................................................................................................... 7AC POWER .............................................................................................................................. ....................................................................................... 7MOUNTING .............................................................................................................................. ........................................................................................ 7FIXTURE LINKING .............................................................................................................................. ............................................................................... 8Data Cabling ............................................................................................................................................................................................................ 8DMX Data Cable................................................................................................................................................................................................. 8Cable Connectors ............................................................................................................................................................................................... 83-Pin to 5-Pin Conversion Chart ............................................................................................... ......................................................................... 9SETTING UP A DMX SERIAL DATA LINK .............................................................................................................................. .............................................. 9STANDALONE/MASTER-SLAVE FIXTURE LINKING .............................................................................................................................. ................................ 94. OPERATING INSTRUCTIONS........................................................................................................................................ 10STANDALONE MODE .............................................................................................................................. ........................................................................ 10Single-Fixt ure M ode ............................................................................................................................................................................................... 10Master-Sla ve M ode ................................................................................................................................................................................................ 10Setup ................................................................................................................................................................................................................ 10Dipswitch Options .................................................................................................................................................................................................. 10DMX CONTROL MODE .............................................................................................................................. ..................................................................... 11Configuring for DMX control ................................................................................................... ............................................................................... 11Setting the DM X addre ss ....................................................................................................................................................................................... 11DAISY CHAIN (SERIAL DATA LINK) .................................................................................................................................................................................. 115. APPENDIX ....................................................................................................................................................................... 12DMX PRIMER .............................................................................................................................. .................................................................................. 12RETURNS PROCEDURE .............................................................................................................................. .................................................................... 12CLAIMS .............................................................................................................................. ........................................................................................... 12MAINTENANCE .............................................................................................................................. ................................................................................. 12BINARY & DMX DIP-SWITCH ADDRESSING .............................................................................................................................. ....................................... 13BINARY ADDRESSING QUICK REFERENCE CHART .............................................................................................................................. ............................. 14DMX CHANNEL VALUES .............................................................................................................................. .................................................................. 15PHOTOMETRIC .............................................................................................................................. ................................................................................. 15TECHNICAL SPECIFICATIONS .............................................................................................................................. ............................................................ 16TECHNICAL SUPPORT .............................................................................................................................. ...................................................................... 16 CHAUVET, 2006, All Rights Reserved Information and specifications in this User Manual are subject to change without notice. CHAUVET assumes no responsibility or liability for any errors or inaccuracies that may appear in this manual. ST-4000RGB User Manual 2 2008-11-07/11:37

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1. Before You Begin Unpacking Instructions Immediately upon receiving a product, carefully unpa ck the carton, check the contents to ensure that all parts are present, and have been received in good condition. Notify the shipper immediately and retain packing material for inspection if any parts appear damaged from shipping or the carton itself shows signs of mishandling. Save the carton and all packing materials. In the event that a fixture must be returned to the factory, it is important that the fixture be returned in the original factory box and packing. Note: If you should require sending any items back to CHAUVET, call CHAUVET for a (RMA) Return Merchandise Authorization number. The factory will not allow any shipments without an RMA. Your shipment includes the following: 1 x LED Techno Strobe RGB ST-4000RGB 1 x Power cable 2 x Flush Mount Brackets with screws Warranty Card Users Manual Contact Us World Wide General Information Chauvet Lighting 3000 North 29th Court Hollywood, FL 33020 voice: 954.929.1115 fax: 954.929.5560 toll free: 800.762.1084 Technical Support Chauvet Lighting 3000 North 29th Court Hollywood, FL 33020 voice: 954.929.1115 (Press 4) fax: 954.929.5560 (Attention: Service) World Wide Web www.chauvetlighting.com ST-4000RGB User Manual 3 2008-11-07/11:37

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Before You Begin Important Safety Information This product is designed for profe ssional use. It is not intended fo r use in a household environment. This product presents risks of lethal or severe injury due to fire and heat, electric shock, ultraviolet radiation, lamp explosion, and injury from falls. Read this manual before installing or powering the fixture, follow the safety precautions listed below and observe all warnings in this manual and on the fixture. If you have any questions about how to operate the fixture safely, please contact CHAUVET. Protection against Electric Shock Always disconnect from AC power source before se rvicing or replacing lamp or fuse and be sure to replace with same lamp source. All Class I fixtures must be connected to circuits with a suitable Earth Ground. To prevent risk of fire or shock, do not expose fixture to rain or moisture. Make sure there are no flammable materials close to the unit while operating. Do not operate the fixture if covers are open or if any internal component is missing or damaged: an unshielded discharge lamp emits dangerous UV radiation that can cause burns and eye damage. Make sure power cord is never crimped or damaged. Never disconnect power cord by pulling or tugging on the cord. Protection against Fire & Burns This product is designed to be used with very specif ic lamp(s). Use of any other type of lamp not stated in this manual may create a fire hazard due to possible risk of lamp explosion. Using the wrong type of lamp in this product VOIDS the warranty. Always make sure that you are connecting to the proper voltage and that the line voltage you are connecting to is not higher than that stat ed on decal or rear panel of the fixture. The unit must be installed in a location with adequate ventilation, at least 50cm from adjacent surfaces. Be sure that no ventilation slots are blocked. Maintain a minimum distance of 1 meter (3.28 feet) from combustible materials. Allow this product to cool for a minimum of 15 minutes before opening, handling or removing the lamp in this product. Maximum ambient temperature is Ta: 40 Do not operate fixture at temperatures higher than this. Protection against exposure to (UV) Ultraviolet Radiation Avoid direct eye exposure to lamp while it is on. Do not operate the fixture if covers are open or if any internal component is missing or damaged. Protection against Injury to persons Secure fixture to fastening device using a safety chain. A hot lamp is an explosion hazard. Do not open fixture for a minimum of 15 minutes after switching off. Wear eye and hand protection when re-lamping. Fixture surface may reach temperatures of up to 160 C (320 F). Handle fixture after it cools. In the event of serious operating problem, stop us ing the unit immediately. Never try to repair the unit by yourself. Repairs carried out by un skilled people can lead to damage or malfunction. Please contact the nearest authori zed technical assistance center. Always use the same type spare parts. Caution! There are no user serviceable parts inside the unit. Do not open the housing or attempt any repairs yourself. In the unlikely event your unit may require service, please contact CHAUVET. ST-4000RGB User Manual 4 2008-11-07/11:37

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2. Introduction Features 6-channel DMX-512 LED strobe system Blackout and static / strobing Built-in automatic programs Built-in sound programs Dimming RGB color mixing with or without controller Automatic built-in programs with sound activation Linkable with LED Techno Strobe & LED Shadow in stand-alone Low power consumption Additional power output for daisy chaining units together DMX Channel Summary 1 2 3 4 5 6 DMX Channel (Columns) RGB Mode 000~024 Red 000~255 Green 000~255 Blue 000~255 Strobing 000~255 Dimming 000~255 Preset Programs (1 ~ 8) 025~224 No Function No Func tion No Function Program Speed 000~255 No Function Sound Mode 225~255 No Function CONTROL MODES & OPTIONS (Rows) For a detailed view of DMX values turn to the Appendix section in this manual. Control mode param eters are set by DMX values in Channel # 1. ST-4000RGB User Manual 5 2008-11-07/11:37

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Introduction Product Overview Hanging Yoke Audio Sensitivity Rotary knob DIP-switches DMX Addressing DMX In p ut DMX Out p ut ST-4000RGB User Manual 6 2008-11-07/11:37 IEC Plug for AC Input & Fuse Compartment LED Front Panel Red LED: Power Indicator Blue LED: Signal Indicator Power Link Out Flush Mounting Bracket

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3. Setup AC Power Warning! Verify that the power requirement label on your unit matches the line voltage applied. All fixtures must be connected to circuits with a suitable Earth Ground. To determine the power requirements for a particular fixture, see the label affixed to the back plate of the fixture or refer to the fixtures specifications chart. A fixtures listed current rating is its av erage current draw under normal conditions. All fixtures must be powered directly off a switched circuit and cannot be run off a rheostat (variable resistor) or dimmer circ uit, even if the rheostat or dimmer channel is used solely for a 0% to 100% switch. Before applying power to a fixture, check that the source voltage matches the fixtures requirement. All fixtures must be connected to ci rcuits with a suitable Earth Ground.Power Cable Configuration CABLE Pin International Screw Color BROWN Live L Yellow or Brass BLUE Neutral N Silver YELLOW/GREEN Earth EG (Ground) Green Mounting Orientation This fixture can be mounted on a truss using a clam p in any position or agains t a flat surface using the brackets provided. Rigging The fixture includes a mounting yoke to which 1 rigging clamp can be bolted and (2) Flush Mount Brackets for flush mounting to flat surfaces. You must supply your own clamp and make sure the clamp is capable of supporting the weight of this fixture. You can order C-clamps from any CHAUVET dealer or distributor. Hanging Clamp 1. Block access below the work area and use suitable and stable platform when installing or servicing fixture. 2. Align the clamp screw with th e center hole on the yoke and tighten. Flush Mounting Bracket 3. Verify the structure can hold 10 times the weight of all to-be installed fixtures. 4. Adjust the angle on the yoke arm as necessary. 5. Always use a safety cable or chain as a secondary source of attachment. The safety cable must hold 10 times the weight of the fixture. If safety cable attachment point is provided that is permanently affixed to the surface or body of the fixture, use that instead of looping through a hanging yoke/arm. Flush Mounting 1. Draw a screw hole template on a large piece of vellum or transparent paper for best alignment. 2. Place paper against the mounting surface and drill holes or mark the surface for drilling. 3. Hang Panel. ST-4000RGB User Manual 7 2008-11-07/11:37

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Setup Fixture Linking You will need a serial data link to run light shows of one or more fixtures using a DMX-512 controller or to run synchronized shows on two or more fixt ures set to a master/slave operating mode. The combined number of channels required by all the fixt ures on a serial data link determines the number of fixtures the data link can support. The ST-4000RGB fixtures use 6 channels of DMX control. Important: Fixtures on a serial data link must be daisy chained in one single line. To comply with the EIA-485 standard no more than 32 devices should be connected on one data link. Connecting more than 32 fixtures on one serial data link without the use of a DMX optically isolated splitter may result in deterioration of the digital DMX signal. Maximum recommended serial data lin k distance: 500 meters (1640 ft.) Maximum recommended number of fixtures on a serial data link: 32 fixtures Data Cabling To link fixtures together you must obtain data cables. You can purchase CHAUVET certified DMX cables directly from a dealer/distr ibutor or construct your own cabl e. If you choose to create your own cable please use data-grade cabl es that can carry a high quality signal and are less prone to electromagnetic interference. DMX Data Cable Use a Belden 9841 or equivalent cable which meet s the specifications for EIA RS-485 applications. Standard microphone cables cannot transmit DMX data reliably over long distances. The cable will have the following characteristics: 2-conductor twisted pair plus a shield Maximum capacitance between conductors 30 pF/ft. Maximum capacitance between conductor and shield 55 pF/ft. Maximum resistance of 20 / 1000 ft. Nominal impedance 100 140 Cable Connectors Cabling must have a male XLR connector on one end and a female XLR connector on the other end. CAUTION Do not allow contact between the common and the fixtures chassis ground. Grounding the common can cause a ground loop and your fixture to perform erratically. Test cables with OHM meter to verify correct polarity and to make sure the pins are not grounded or shorted to the shield or each other. COMMON DMX + DMX INPUT OUTPUT 1 3 2 1 3 2 1 3 2 Resistance 120 ohm 1/4w between pin 2 (DMX -) and pin 3 (DMX +) of the last fixture. Termination reduces signal errors and to avoid signal transmission problems and interference, it is always advisable to connect a DMX signal DMX connector configuration ST-4000RGB User Manual 8 2008-11-07/11:37

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Setup 3-Pin to 5-Pin Conversion Chart 3-Pin to 5-Pin Conversion Chart Note! If you use a controller with a 5 pin DMX output connector, you will need to use a 5 pin to 3 pin adapter. CHAUVET Model No: DMX5M. The chart below details a proper cable conversion: Note! If you use a controller with a 5 pin DMX output connector, you will need to use a 5 pin to 3 pin adapter. CHAUVET Model No: DMX5M. The chart below details a proper cable conversion: 3 PIN TO 5 PIN CONVERSION CHART 3 PIN TO 5 PIN CONVERSION CHART Conductor Conductor 3 Pin Female (output) 3 Pin Female (output) 5 Pin Male (Input) 5 Pin Male (Input) Ground/Shield Pin 1 Pin 1 Data ( )signal Pin 2 Pin 2 Data ( + ) signal Pin 3 Pin 3 Do not use Do not use Do not use Do not use Setting up a DMX Serial Data Link This drawing provides a general illustration of the DMX Input/Output panel of a l i ght ing f ix tur e Universal DMX Controller Continue the link Often, the setup for Master-Slave and Standalone operation requires that the first fixture in the chain be initialized for this purpose via either settings in the control panel or DIP-switches. Secondarily the fixtures that follow may also require a slave setting. Please consult the Operating Instructions section in this manual for complete instructions for this type of setup and configuration. Fixtures displayed are for illustration purpose only! 1. Connect the (male) 3 pin connector side of the DMX cable to the output (female) 3 pin connector of the controller. 2. Connect the end of the cable coming from the controller which will have a (female) 3 pin connector to the input connector of the next fixture consisting of a (male) 3 pin connector. 3. Then, proceed to connect from the output as stated above to the input of the following fixture and so on. CHAUVET Certified DMX Data Cables Order Code Description DMX1.5 DMX Cable 1.5m/4.9ft DMX4.5 DMX Cable 4.5m/14.8ft DMX10 DMX Cable 10m/32.8ft Standalone/Master-Slave Fixture Linking 1. Connect the (male) 3 pin connector side of the DM X cable to the output (female) 3 pin connector of the first fixture. 2. Connect the end of the cable coming from the first fixture which will have a (female) 3 pin connector to the input connector of the next fixture consisting of a (male) 3 pin connector. Then, proceed to connect from the output as stated above to the input of the following fixture and so on. ST-4000RGB User Manual 9 2008-11-07/11:37

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4. Operating Instructions The ST-4000RGB is a DMX-512 controllable, full RGB color mix LED panel made up of highly efficient and super bright LEDs. The ST-4000RGB can operate in Stand-Alone, Master/Slave and via DMX-512 control utilizing 5 channels. Standalone Mode The ST-4000RGB can be operated without a DMX controller in a standalone mode. It can be operated as a single fixture or together with several other ST-4000RGB fixtures in what is called a Master/Slave configuration. Sound Auto 2 3 4 5 6 7 8 9 10 1 ON1 2 4 8 16 32 64 128 256 Option Note: to set this fixture up with smoot h standalone fade programs, you must use only dipswitches 4-7. Dipswitch 4 activates the function, while the combination of dipswitches 57 adjusts the fade time. Single-Fixture Mode The ST-4000RGB can be set to operate independently of other fixtures or a DMX controller in either a sound-active or automatic mode. A serial dat a-link is not necessary for this mode of operation and it is recommended that no connection to other fixtures be made at all. 1. Simply choose from any one of 11 built-i n DIP-switch Options fr om the table below. Master-Slave Mode A master-slave mode setup consists of more than one fixture connected in a serial data link without the use of a controller. In a master-slave operat ion the slave fixtures will synchronize and will behave either identically or in a planned chase pattern to t he master unit which must be the first in the serial daisy chain. A Master-Slave ST-4000RGB system can consist of an unlimited range of fixtures or at least the number stated to conform to EIA-485 standards. Setup 1. The ST-4000RGB sets up automatically for Ma ster-Slave, no DIP-switch settings are required other than for selecting DIP-switch Options. 2. Connect the end of the cable coming from the fi rst fixture which will have a (female) 3 pin connector to the DMX IN input connector of the Slave fixtur e consisting of a (male) 3 pin connector. Continue the loop from DMX OUT to DMX IN. Dipswitch Options Functions Dipswitches ( ON ) Notes & Description None Blackout Red LEDs 1 Red LEDs Green LEDs 2 Green LEDs Blue LEDs 3 Blue LEDs Dimmer/Auto Fade 4 75% Intensity Dimmer/Speed in Auto Fade 5 50% Intensity Strobe/Speed in Auto Fade 6 Slow Strobe/Speed in Auto Fade 7 Medium Strobe/Strobe in Auto Fade 8 Fast Sound 9 Music: Sound Activated, Rotary knob sets sound sensitivity Auto Flash 10 Preset Programs run in Automatic speed ST-4000RGB User Manual 10 2008-11-07/11:37

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Operating Instructions DMX Control Mode The ST-4000RGB can be operated from a DMX cont roller. This control mode environment gives the user the greatest flexibility when it comes to customizing or creating a show by enabling the control of each individual trait of the fixture and each fixture independently. Configuring for DMX control 1. Connect the (male) 3 pin connector side of the DM X cable to the output (female) 3 pin connector of the controller. 2. Connect the end of the cable coming from the c ontroller which will have a (female) 3 pin connector to the input connector of the next fixtur e consisting of a (mal e) 3 pin connector. 3. Then, proceed to connect from the DMX output as stated above to the DMX input of the following fixture and so on. 4. If you need help setting the DMX address read the se ction titled Setting the DMX address in this Chapter. Setting the DMX address Each fixture requires a "start address" from 1 to 511. A fixture requiring one or more channels for control begins to read the data on the channel indica ted by the start address. For example, a fixture that occupies or uses 7 channels of DMX and wa s addressed to start on DMX channel 100, would read data from channels: 100, 101, 102, 103, 104, 105 and 106. Choose start addresses so that the channels used do not overlap and notate the start address selected for future reference. If this is your first time, read the DMX Primer in the Appendix Section. Daisy Chain (Serial Data Link) DMX I npu t Use certified DMX XLR cable DMX Out p ut DMX:001 DMX:013 DMX:007 5 4 3 2 6 7 8 9 10 7 6 5 4 3 2 1 1 7 6 5 4 3 2 1 8 9 10 8 9 10 Visit the section titled; Binary & DMX DIP-switch Addressing on page 13 & Binary Addressing Quick Reference Chart on page 14 to quickly determine the binary DIP-switch settings for addressing. ST-4000RGB User Manual 11 2008-11-07/11:37

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5. Appendix DMX Primer There are 512 channels in a DMX-512 connection. Channels may be assigned in any manner. A fixture capable of receiving DMX-512 will require one or a number of sequential channels. The user must assign a starting address on the fixture that indicates the first channel reserved in the controller. There are many different types of DMX controllable fixtures and they all may vary in the total number of channels required. Choosing a start address should be planned in advance. Channels should never overlap. If they do, this will result in erra tic operation of the fixtures whose starting address is set incorrectly. You can however, control multiple fixtures of the same type using the same starting address as long as the intended result is that of uni son movement or operation. In other words, the fixtures will be slaved together and all respond exactly the same. DMX fixtures are designed to receive data through a serial Daisy Chain. A Daisy Chain connection is where the DATA OUT of one fixture connects to the DA TA IN of the next fixture. The order in which the fixtures are connected is not important and has no effect on how a controller communicates to each fixture. Use an order that provides for the easiest and most direct cabling. Connect fixtures using shielded two conductor twist ed pair cable with three pin XLR male to female connectors. The shield connection is pin 1, while pin 2 is Data N egative (S-) and pin 3 is Data positive (S+). CHAUVET carries 3-pin XLR DMX compliant cables, DMX10 (33), DMX-4.5 (15) and DMX-1.5 (5) Returns Procedure Returned merchandise must be sent prepaid and in t he original packing, call tags will not be issued. Package must be clearly labeled with a Return Merc handise Authorization Number (RA #). Products returned without an RA # will be refused. Call CHAUVET and request RA # prior to shipping the fixture. Be prepared to provide the model number, serial number and a brief description of the cause for the return. Be sure to properly pack fixture, any shipping damage resulting from inadequate packaging is the customers responsibility. CHAUVET reserves the right to use its own discretion to repair or replace product(s). As a suggestion, proper UPS packing or double-boxing is always a safe method to use. Claims Damage incurred in shipping is the responsibilit y of the shipper; therefore the damage must be reported to the carrier upon receipt of merchandise. It is the customer's responsibility to notify and submit claims with the shipper in the event that a fixture is damaged due to shipping. Any other claim for items such as missing component/part, damage not related to shipping, and concealed damage, must be made within seven (7) days of receiving merchandise. Maintenance To maintain optimum performance and minimize wear, fixtures should be cleaned frequently. Usage and environment are contributing factors in determi ning frequency. As a general rule, fixtures should be cleaned at least twice a month. Dust build up reduces light output performance and can cause overheating. This can lead to reduced lamp life and increased mechanical wear. Be sure to power off fixture before conducting maintenance. ST-4000RGB User Manual 12 2008-11-07/11:37

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Appendix Unplug fixture from power. Use a vacuum or air compressor and a soft brush to remove dust collected on external vents and internal components. Clean all glass when the fixture is cold with a mild solution of glass cleaner or Isopropyl Alcohol a nd a soft lint free cotton cloth or lens tissue. Apply solution to the cloth or tissue and drag dirt and grime to the outside of the lens. Gently polish optical surfaces until they are free of haze and lint. Do not to touch the lamp glass when cleaning fixture. Oil and dirt can cause damage and premature aging of the lamp. In the event that the lamp is touched or becomes dirty, clean the lamps with an alcohol wipe. The cleaning of internal and external optical lenses and/or mirrors must be carried out periodically to optimize light output. Cleaning frequency depends on t he environment in which the fixture operates: damp, smoky or particularly dirty surrounding can c ause greater accumulation of dirt on the units optics. Clean with soft cloth using normal glass cleani ng fluid. Always dry the parts carefully. Clean the external optics at least every 20 days. Cl ean the internal optics at least every 30/60 days. Binary & DMX DIP-switch Addressing Each DIP-switch has an associated value. Adding t he value of each switch in the ON position will provide the final address. Determining which switc hes to toggle ON given a specific desired address or value can be accomplished in the following manner. By subtracting the largest switch value possible from the selected start addre ss which does not cause a negative number. Alternatively, using the Binary Addressing Quick Reference Chart in the Appendix section of this manual, you can go directly to DIP-switch settings associated with all 512 values available. EXAMPLE ADDRESS Address 10 Pin # 4 = 8 Pin # 2 = 2 Total = 10 Address 24 Pin # 5 = 16 Pin # 4 = 8 Total = 24 Resolving address using simple math. Address 233 233 (128) = 105, Turn ON Dip # 8 105 (64) = 41, Turn ON Dip # 7 41 (32) = 9, Turn ON Dip # 6 9 (8) = 1, Turn ON Dip # 4 1 (1) = 0, Turn ON Dip # 1 You will most likely use the first available number which maybe number 1. This number was selected for tutorial purposes. DIP SWITCH (DMX VALUE) 1 2 3 4 5 6 7 8 9 10 1 2 4 8 16 32 64 128 256 1 2 3 4 5 6 7 8 9 10 ON 1 ON2 3 4 5 6 7 8 9 10 1 2 4 8 16 32 64 128 256 1 2 4 8 16 32 64 128 256ST-4000RGB User Manual 13 2008-11-07/11:37

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Appendix Binary Addressing Quick Reference Chart DMX & Binary Address Quick Reference Chart DIP-switch Position DMX DIP-SWITCH SET #9 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 0=OFF #8 0 0 0 0 1 1 1 1 0 0 0 0 1 1 1 1 1=ON #7 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 X=OFF or ON #6 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 #1 #2 #3 #4 #5 0 0 0 0 0 32 64 96 128 160 192 224 256 288 320 352 384 416 448 480 1 0 0 0 0 1 33 65 97 129 161 193 225 257 289 321 353 385 417 449 481 0 1 0 0 0 2 34 66 98 130 162 194 226 258 290 322 354 386 418 450 482 1 1 0 0 0 3 35 67 99 131 163 195 227 259 291 323 355 387 419 451 483 0 0 1 0 0 4 36 68 100 132 164 196 228 260 292 324 356 388 420 452 484 1 0 1 0 0 5 37 69 101 133 165 197 229 261 293 325 357 389 421 453 485 0 1 1 0 0 6 38 70 102 134 166 198 230 262 294 326 358 390 422 454 486 1 1 1 0 0 7 39 71 103 135 167 199 231 263 295 327 359 391 423 455 487 0 0 0 1 0 8 40 72 104 136 168 200 232 264 296 328 360 392 424 456 488 1 0 0 1 0 9 41 73 105 137 169 201 233 265 297 329 361 393 425 457 489 0 1 0 1 0 10 42 74 106 138 170 202 234 266 298 330 362 394 426 458 490 1 1 0 1 0 11 43 75 107 139 171 203 235 267 299 331 363 395 427 459 491 0 0 1 1 0 12 44 76 108 140 172 204 236 268 300 332 364 396 428 460 492 1 0 1 1 0 13 45 77 109 141 173 205 237 269 301 333 365 397 429 461 493 0 1 1 1 0 14 46 78 110 142 174 206 238 270 302 334 366 398 430 462 494 1 1 1 1 0 15 47 79 111 143 175 207 239 271 303 335 367 399 431 463 495 0 0 0 0 1 16 48 80 112 144 176 208 240 272 304 336 368 400 432 464 496 1 0 0 0 1 17 49 81 113 145 177 209 241 273 305 337 369 401 433 465 497 0 1 0 0 1 18 50 82 114 146 178 210 242 274 306 338 370 402 434 466 498 1 1 0 0 1 19 51 83 115 147 179 211 243 275 307 339 371 403 435 467 499 0 0 1 0 1 20 52 84 116 148 180 212 244 276 308 340 372 404 436 468 500 1 0 1 0 1 21 53 85 117 149 181 213 245 277 309 341 373 405 437 469 501 0 1 1 0 1 22 54 86 118 150 182 214 246 278 310 342 374 406 438 470 502 1 1 1 0 1 23 55 87 119 151 183 215 247 279 311 343 375 407 439 471 503 0 0 0 1 1 24 56 88 120 152 184 216 248 280 312 344 376 408 440 472 504 1 0 0 1 1 25 57 89 121 153 185 217 249 281 313 345 377 409 441 473 505 0 1 0 1 1 26 58 90 122 154 186 218 250 282 314 346 378 410 442 474 506 1 1 0 1 1 27 59 91 123 155 187 219 251 283 315 347 379 411 443 475 507 0 0 1 1 1 28 60 92 124 156 188 220 252 284 316 348 380 412 444 476 508 1 0 1 1 1 29 61 93 125 157 189 221 253 285 317 349 381 413 445 477 509 0 1 1 1 1 30 62 94 126 158 190 222 254 286 318 350 382 414 446 478 510 1 1 1 1 1 31 63 95 127 159 191 223 255 287 319 351 383 415 447 479 511 DIP-switch Position DMX Address ST-4000RGB User Manual 14 2008-11-07/11:37

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Appendix DMX Channel Values NOTE! Please read all instructions carefully on fixture DMX control mode and addressing. DMX channels 2, 3, 4 and 5 functions are determi ned by the current settings of channel 1. For example, while Channel 1 is set between 000 and 024 the following conditions will apply; Channel 2 will control the Red LEDs Channel 3 will control the Green LEDs Channel 4 will control the Blue LEDs Channel Value Function Ch 2 Ch 3 Ch 4 Ch 5 Ch 6 1 000 024 RGB Control Mode Red 000 255 Green 000 255 Blue 000 255 Strobing 000255 Dimming 100% 0% 025 049 Program 1 No Function No Function No Function Speed 000 255 No Function 050 074 Program 2 075 099 Program 3 100 124 Program 4 125 149 Program 5 150 174 Program 6 175 199 Program 7 200 224 Program 8 225 255 Sound No Function Photometric 28 Beam Angle 242 2650 1 0.304 3 0.914 6 Distance (feet) 1.828 Distance (meters) 65 700 19 Foot Candles 205 LUX 28 ST-4000RGB User Manual 15 2008-11-07/11:37

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Appendix ST-4000RGB User Manual 16 2008-11-07/11:37 Technical Specifications WEIGHT & DIMENSIONS Length........................................................................................................................ 355.6 mm (14.0 in) Width ....................................................................................................................... 247.65 mm (9.75 in) Height .......................................................................................................................... 165.1 mm (6.5 in) Weight ........................................................................................................................ 2.22 Kgs (4.9 lbs) Master Pack................................................................................................. (4 pcs) 12.84 Kgs (28.3 lbs) POWER Operating Voltage ................................................................................................. 90V ~ 240V 50/60 Hz AC input ........................................................................................................................... IEC 60320 C14 Current draw ................................................................... (peak <12W @ 120V), (inrush <24W @ 120V) FUSE Main ............................................................................................................... 20mm Glass 2A Fast Blow LED Quantity ..................................................................................... 192 Total, (Red 64, Green 64, Bl ue 64) Beam Angle .................................................................................................................... .................... 28 Illuminance ................................................................................................. (51.3fc or 552lux ) @ 1 meter CONTROL & PROGRAMMING Data input ................................................................................................ locking 3-pin XLR m ale socket Data output ........................................................................................... locking 3-pin XLR femal e socket Data pin configuration .............................................................................. pin 1 shield, pin 2 (-), pin 3 (+) Protocols...................................................................................................................... .. DMX-512 USITT DMX Channels ....................................................................................................................................... 6 ORDERING INFORMATION LED Techno Strobe RGB ........................................................................................ LED-ST4000RGB Technical Support Address: Service Dept. 3000 N 29th Ct, Hollywood, FL 33020 (U.S.A.) Support (Email): tech@chauvetlighting.com Telephone: (954) 929-1115 (Press 4) Fax: (954) 929-5560 (Attention: Service) Website: http://www.chauvetlighting.com

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VL1000ERSautomatedellipsoidal reflectorspotlight TheVARI! LITEVL1000ERS luminairecombinesthefunctionalityof oneofthemostpopularconventional lightingtoolstheellipsoidalreflector spotlightwiththeversatilityofan automatedluminaire. AutomatedfunctionsincludeCYM colormixing,rotatinggobos,variable diffusionandazoomlensthatranges from19to36fornormalimaging andasuperzoomfunctionthatranges to70. ModelsVL1000AIandVL1000AS delivermorethan15,000lumenswith thehighercolortemperatureofthe 575wattarcsource.Thesemodelsalso includeamechanicaldimmeranda truss-mounted,fanlessballast. TheVL1000ASmodelincludesan automated,four-bladeshutter mechanismthatprovidescontrolof allshutterfunctionspopularin conventionalellipsoidalreflector spotlights.TheVL1000AImodel includesabeamsizeiris.ArcUnitsProgrammableFunctionsZoomOptics: Continuouslyvariablefieldangleinimagingrangefrom19to 36 superzoomanglesto70isprogrammableoveratimedrangeof 2secondsto20minutes. ColorMixing: Afullycross-fadingCYMcolorsystemisincluded. Diffusion: Fieldorgobocanbecontinuouslyandsmoothlydiffusedtowash. RotatingGoboWheel: Six-positionrotatinggobowheelwithfiverotatable,indexablegobo positionsandoneopenposition. Shutter(FramingModels): Four-bladesystemcanframeandcropbeamfieldandgobos. Eachindividualshutteriscapableoftranslatingtobeamcenterwhile alsorotating.Entireshutterrotates. BeamSizeControl Inadditiontothezoomoptics,amechanicalirisprovidescontinuous (IrisModels): beamsizecontrolforbothrapidchangesandsmoothtimedbeam anglechanges. Pan&Tilt: Smooth,timedcontinuousmotionusingsteppermotorswithencoder correction.Panrangeis540;tiltis270. Resolutionis0.1.Unitwill calibratetosupportclosehangs(yoke-to-yoke).DescriptionSource: 575WArcLamp,PhillipsMSR575HR(orequivalent) ColorTemp:6000K CRI:95 Output:>15,000LumensRatedLife:1,000Hours Source: 575WLong-LifeArcLamp,PhillipsMSD575HR(orequivalent) ColorTemp:5900K CRI:75 Output:>14,000LumensRatedLife:2,000Hours PowerRequirements: Dependingonthevoltage,3to9AaresuppliedtotheArcluminaires andballast. Reflector: Precisionglassreflectorwithdichroiccoldmirrorcoating. OperationalTemperature: -20to122F(-29to50C). Cooling: Freeconvectioncoolingwhenhung.Floormountedunitsandextreme ambienttemperaturesactivatealow-noise,forced-aircoolingsystem. Control: CompletelycompatiblewithawidevarietyofDMX-512consoles. MountingPosition: TheVL1000ERSluminairecanbemountedandoperatedinany orientation. Spacing: Fullrangeofmotionon26.5"centers.Hangsascloseas20.0". Weight: 70lbs(32kg).Accessories71.2528.0575 575WattArcLamp,MSR575HR 71.2556.0575 575WattLong-LifeArcLamp,MSD575HR 55.6840.0001 TrussHook,Mega-Clamp,RoundandSquare 55.6841.0001 TrussHook,Mega-Clawfor2RoundTube 41.6010.XXXX Gobo,VL1000(SpecifypatternfromcatalogtocompleteP/N .) Vari-LiteisaPhilipsgroupbrand

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Vari-Lite 10911PetalStreet Dallas,TX75238 1.877.VARILITE fax:214.647.8038 www.vari-lite.com SpecificationsTheunitisanintegrallydesigned,remote-controlled,automated ellipsoidalreflectorspotluminaire.Anintegralenclosure/pantube supportstheluminairewithprovisionsfortwohooks.Thepantube servesasaninterconnectionpointforpoweranddata.Lownoise fansprovideforced-aircoolingforinternalcomponentsduring extremeoperatingconditions.Therearcapprovidesthree-point lampadjustmentandeasyaccesstothelampforreplacement. AnACinputconnector,aremoteballastinterconnectcableandtwo, five-pinDMX-512compatibleconnectors(inandthrough)areprovided. TheunitcanbecontrolledbyawidevarietyofDMX-512consoles. Eachunitisequippedwithahigh-speedprocessorprovidingdiagnostic andself-calibrationfunctionsaswellasinternaltestroutinesand softwareupdatecapabilities.Ayokearmmountedpanelanddisplay providetheuserinterface. Theunitcontainsindependentsteppermotorstoprovidemovement oftheheadthrough540inthehorizontalplane(pan)and270inthe verticalplane(tilt).Theluminairecalibratestominimizehanging distances. Azoomingmulti-elementopticalsystemprovidescontinuousfocusof goboimagesforfieldanglesfrom19to36.Asuperzoomfunction providesfieldanglesto70.Independentcontrolofedgeisprovided. ACYMcolormixingsystemisprovidedforabroadrangeofusercolor selection.Avariablediffusionstageisalsoincluded.Thisstage providescontrolledreductionofthecontrastratioofimageryandbeam edges.Theeffectisacontinuoustransitionfromspotlighttofloodlight. Asix-positiongobowheelwithfiverotatable,indexablegobopositions andoneopenpositionisincluded.Gobosareeasilyinstalledand removed.(AwideselectionofgobosisavailablefromVari-Lite.) Framingshuttermodelscontainfourshutterbladesthattranslate radiallyacrossthebeam.Eachindividualshutteriscapableof translatingtobeamcenterwhilealsorotating.Theframing shuttermechanismrotatesasaunit. Irismodelscontainabeamsizeirissuitableforproducingnarrow beamsandcroppinggobos.TheunitisETLandETLccertifiedandCE marked.Exteriorfinishisblack.Customcolorsmaybespecialordered. Models **Alldatatakenwithseasonedlightsourceat20hoursoflife.1MultiplydistancebyTntodeterminecoverage. TocalculatecenterbeamIlluminance(I),ataspecicdistance(D):I=cd D2if(D)isinfeet,(I)isinfootcandles if(D)isinmeters,(I)isinluxPhotometricData **VL1000ERSautomatedellipsoidal reflectorspotlight ArcUnitsArcBallastUnitDescription:InputVoltageRange: 90Vto275V, auto-ranging. Frequency: 50Hzor60Hz CurrentRange: 2.7Ato9.0A* PowerFactor: .97OutputOpenCircuitVoltage: 450V LampVoltage: 100V* LampCurrent: 6.25A* LampPower: 625W* OutputCurentShape: Squarewave OutputFrequency: 200Hz* HighFrequency 3% RippleCurrent: NominalValuesWeight&DimensionsMountingposition: Ballastcanbemountedinanyorientation. Weight: 16.6lbs(7.52kg)PhilipsGroup.Allrightsreserved.PrintedintheU.S.A. VARI!LITE isatrademark ownedbyPhilipsGroupandisregisteredintheUnitedStatesandothercountries.VL1000and theVari-LiteAsteriskarealsotrademarksownedbyPhilipsGroup.Certainproductslistedinthis documentmaybeprotectedbyapplicablepatentsandpatentspending.Philipswillagressively defendallofitsintellectualproperty.Wereservetherighttochangedetailsofdesign,materialsand finishes.Specificationsaresubjecttochangewithoutnotice.VARI!LITE automatedlighting equipmentismadeintheU.S.A. VL1000_ARC_0808

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VL1000ERSautomatedellipsoidal reflectorspotlight TheVARI! LITEVL1000ERS luminairecombinesthefunctionalityof oneofthemostpopularconventional lightingtoolstheellipsoidalreflector spotlightwiththeversatilityofan automatedluminaire. AutomatedfunctionsincludeCYMcolor mixing,rotatinggobos,variablediffusion andazoomlensthatrangesfrom19to 36fornormalimagingandasuper zoomfunctionthatrangesto70. TungstenversionsVL1000TIand VL1000TSdeliver10,000lumenswith theconsistentcolortemperature ofatungstensource.TheVL1000TS modelincludesanautomated,fourbladeshuttermechanismthatprovides controlofallshutterfunctionspopular inconventionalellipsoidalreflector spotlights.ModelVL1000TIincludes abeamsizeiris.TungstenProgrammableFunctionsZoomOptics: Continuouslyvariablefieldangleinimagingrangefrom19to 36 superzoomanglesto70isprogrammableoveratimedrangeof 2secondsto20minutes. ColorMixing: Afullycross-fadingCYMcolorsystemisincluded. Diffusion: Fieldorgobocanbecontinuouslyandsmoothlydiffusedtowash. RotatingGoboWheel: Six-positionrotatinggobowheelwithfiverotatable,indexablegobopositions andoneopenposition. Shutter (FramingModels) : Four-bladesystemcanframeandcropbeamfieldandgobos. Eachindividualshutteriscapableoftranslatingtobeamcenterwhile alsorotating35.Entireshutterrotates45 BeamSizeControl Inadditiontothezoomoptics,amechanicalirisprovidescontinuous (IrisModels): beamsizecontrolforbothrapidchangesandsmoothtimedbeam anglechanges. Pan&Tilt: Smooth,timedcontinuousmotionusingsteppermotorswithencoder correction.Panrangeis540;tiltis270 Resolutionis0 .1 .Unitwill calibratetosupportclosehangs(yoke-to-yoke).DescriptionSource: 1000WTungstenHalogenLampColorTemp:3200K Output:10,000Lumens RatedLife:300Hours PowerRequirements: Dependingonvoltage,1to2AaresuppliedtotheTungsten modelsthroughstandardACdistribution. Reflector: Precisionglassreflectorwithdichroiccoldmirrorcoating. OperationalTemperature: -20to122F(-29to50C). Cooling: Freeconvectioncoolingwhenhung.Floormountedunitsandextreme ambienttemperaturesactivatealow-noise,forced-aircoolingsystem. Control: CompletelycompatiblewithawidevarietyofDMX512consoles. MountingPosition: TheVL1000ERSluminairecanbemountedandoperatedinanyorientation. Spacing: Fullrangeofmotionon26.5"centers.Hangsascloseas20. 0". Weight: 70lbs(32kg).Accessories71.2554.0100 1000WattTungstenLamp,100VAC 71.2554.0115 1000WattTungstenLamp,115VAC 71.2552.0230 1000WattTungstenLamp,230VAC 55.6840.0001 TrussHook,Mega-Clamp,RoundandSquare 55.6841.0001 TrussHook,Mega-Clawfor2RoundTube 41.6010.XXXX Gobo,VL1000(SpecifypatternfromcatalogtocompleteP/N .) Vari-LiteisaPhilipsgroupbrand

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Vari-Lite 10911PetalStreet Dallas,TX75238 1.877.VARILITE fax:214.647.8038 www.vari-lite.com SpecificationsTheunitisanintegrallydesigned,remote-controlled,automated ellipsoidalreflectorspotluminaire.Anintegralenclosure/pantube supportstheluminairewithprovisionsfortwohooks.Thepantube servesasaninterconnectionpointforpoweranddata.Lownoise fansprovideforced-aircoolingforinternalcomponentsduring extremeoperatingconditions.Therearcapprovidesthree-point lampadjustmentandeasyaccesstothelampforreplacement. Adimmedlamppowercable,anACinputconnector,andtwo, five-pinDMX512compatibleconnectors(inandthrough)areprovided. TheunitcanbecontrolledbyawidevarietyofDMX512consoles. Eachunitisequippedwithahigh-speedprocessorprovidingdiagnostic andself-calibrationfunctionsaswellasinternaltestroutinesand softwareupdatecapabilities.Ayokearmmountedpanelanddisplay providetheuserinterface. Theunitcontainsindependentsteppermotorstoprovidemovement oftheheadthrough540inthehorizontalplane(pan)and270in theverticalplane(tilt).Theluminairecalibratestominimize hangingdistances. Azoomingmulti-elementopticalsystemprovidescontinuousfocusof goboimagesforfieldanglesfrom19to36.Asuperzoomfunction providesfieldanglesto70.Independentcontrolofedgeisprovided. ACYMcolormixingsystemisprovidedforabroadrangeofusercolor selection.Avariablediffusionstageisalsoincluded.Thisstageprovides controlledreductionofthecontrastratioofimageryandbeamedges. Theeffectisacontinuoustransitionfromspotlighttofloodlight. Asix-positiongobowheelwithfiverotatable,indexablegobopositions andoneopenpositionisincluded.Gobosareeasilyinstalledand removed.(AwideselectionofgobosisavailablefromVari-Lite.) Framingshuttermodelscontainfourshutterbladesthattranslateradially acrossthebeam.Eachindividualshutteriscapableoftranslatingtobeam centerwhilealsorotating.Theframingshuttermechanismrotates asaunit. Irismodelscontainabeamsizeirissuitableforproducingnarrowbeams andcroppinggobos.TheunitisETLandETLccertifiedandCEmarked. Exteriorfinishisblack.Customcolorsmaybespecialordered. *Alldatatakenwithseasonedlightsourceat20hoursoflife.1MultiplydistancebyTntodeterminecoverage. TocalculatecenterbeamIlluminance(I),ataspecicdistance(D):I=cd D2if(D)isinfeet,(I)isinfootcandles if(D)isinmeters,(I)isinluxPhotometricData*VL1000ERSautomatedellipsoidal reflectorspotlightTungsten ModelsPhilipsGroup.Allrightsreserved.PrintedintheU.S.A. VARI!LITE isatrademark ownedbyPhilipsGroupandisregisteredintheUnitedStatesandothercountries.VL1000and theVari-LiteAsteriskarealsotrademarksownedbyPhilipsGroup.Certainproductslistedinthis documentmaybeprotectedbyapplicablepatentsandpatentspending.Philipswillagressively defendallofitsintellectualproperty.Wereservetherighttochangedetailsofdesign,materialsand finishes.Specificationsaresubjecttochangewithoutnotice.VARI!LITE automatedlighting equipmentismadeintheU.S.A. VL1000_Tun_0808

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VL2416 W ash luminaire The VARI LITEVL2416Wash luminaire is based on the EmmyAward winning VL5luminaire design. This powerful luminaire uses a 1200W arc lamp and comes standard with a zoomable beam spreading mechanism. An optional collimator/counterweight is available for applications requiring a fixed, collimated beam. The innovative DICHRO TUNEradial color changer employs enhanced dichroic color filters to produce smooth, full spectrum color crossfades. An internal douser provides intensitycontrol and strobing. The VL2416 luminaire features an upper enclosure that houses the control electronics as well as a power factor corrected arc power supply. The VL2416 luminaire can be controlled from a wide variety of DMX-512 consoles. Programmable Functions Color: The DICHRO TUNEradial color changing mechanism features independent cyan, yellow and magenta color control. Smooth, timed color crossfades can occur in as little as 0.35 seconds. Intensity Control: An internal douser provides intensity control. Beam Size Control: Zoomable beam spreader mechanism. Provides 5 to 55 field in less than 1.2 seconds. Rotating Lens: Rotatable, indexable front lens assembly. Accepts standard P AR 64 cover lens. Rotation speed is up to 14 RPM. Pan & Tilt: Smooth, time-controlled continuous motion by way of a three-phase stepper motor system. Range: Pan 540, Tilt 270. Accuracy: 0.3 resolution. Description Source: 1200 Watt Short Arc LampColor Temperature5600K CRI 80 Output: 16,500 lumens PowerRequirements: Standard AC power distribution from 180264 VAC, 50/60 HZ. The unit requires 7 to 12 Adepending on the AC supply voltage. Reflector: Eight-inch glass dichroic cold mirror reflector. Operational Temperature: -20 to 113F (-29 to 45C). Cooling: Forced air cooling. Control: Completely compatible with a wide variety of DMX-512 consoles. Mounting Position: The VL2416wash luminaire can be mounted and operated in any orientation. Spacing: Hangs on 24.0 inch (61 cm) centers. Weight: 69 lbs (31.3 kg). Accessories 71.2528.1200 1200 Watt Short Arc Lamp 22.9620.0194 Safety Cable Assembly 55.6840.0001 T russ Hook, Mega-Clamp, Round and Square 55.6841.0001 T russ Hook, Mega-Claw for 2" Round Tube 22.9661.0409.01 Collimator/Counterweight Assembly PART #: 20.9661.0001.06

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Specifications The unit is an integrally designed, remote-controlled, motorized wash luminaire. The head, yoke and enclosure housings are constructed of aluminum alloy and steel for lightweight strength and durability. Virtually silent fans provide forced-air cooling for internal components. The rear cap is hinged, providing easy access to the lamp for replacement. A single AC input cable along with two, five-pin DMX-512 compatible connectors (in and through) are provided. The unit can be controlled by any VARI LITE console or a wide variety of DMX-512 consoles. In addition, a built-in Master/Slave function enables operation of multiple luminaires without a control console. Each unit is equipped with multiple on-board processors providing diagnostic and self-calibration functions as well as internal test routines and software update capabilities. The unit contains two independent three-phase stepper motors to provide movement of the head through 540 in the horizontal plane (pan) and 270 in the vertical plane (tilt). The pan and tilt mechanisms are belt-driven, providing positional resolution and repeatability of 0.3 on either axis. Three radial color changers holding 16 panels of dichroic media of a typical color set: cyan, yellow and magenta enable full spectrum color changes. Three motors provide independent drive of each color set. Positional accuracy of the dichroic filters with respect to the beam is ensured through specialized motor control software. The color changers are capable of movement from fully open to fully closed in less than 0.35 seconds. The unit contains a dimmer/strobe mechanism holding 16 black, aluminum dimmer panels that intercept the beam to provide a continuously variable dimming range. The dimmer/strobe mechanism is capable of movement from fully open to fully closed in less than 0.10 seconds and provides a dimmable strobe rate of up to 6Hz. The front lens is user replaceable and configured with a continuously rotatable, indexable mechanism. The unit is ETLand ETLc certified and CE-marked. Exterior finish is black. Vari-Lite, Inc. 201 Regal Row Dallas, TX 75247 1.877.VARILITE fax:214.630.5867 www.vari-lite.com 2002. Printed in the U.S.A. Specifications are subject to change without notice. VARI LITEis a registered trademark of Vari-Lite, Inc. VL2416, VL5, DICHRO TUNE, and VL2400are trademarks of Vari-Lite, Inc. VARI LITEautomated lighting equipment is made in the U.S.A. Vari-Lite products are protected by patents granted and pending in the U.S. and other countries. VL2416 W ash luminaire 02.4237.0001 R1 9/02, 5K 33.125" (84.2 cm) fully ex tended ver tical 31.375" (79.7 cm) 19.25" (48.9 cm) 24" (61 cm) 23.75" (60.33 cm) VL2416 Photometric Data with 1200 Watt Short Arc Lamp* CANDELABEAM ANGLEBEAM DIAMETER FIELD ANGLEFIELD DIAMETER Diffusion (cd)(DEGREES) TN1(DEGREES)TN1 Beam Spreader5,800,000 02.0.035 05.5 0.096 Mechanism Removed Mechanism at full spot1,960,000 04.0.070 08.5 0.149 Mechanism at 25% flood 0,440,00010.0.17518.0 0.317 Mechanism at 50% flood 0,148,00018.5.32631.0 0.555 Mechanism at 75% flood 0,072,00027.0.48045.0 0.828 Mechanism at full flood 0,043,20033.5.60255.01.041 1Multiply distance by Tn to determine coverage. To calculate center beam Illuminance (I), at a specic distance (D): I = cd D2 if (D) is in feet, (I) is in foot candles if (D) is in meters, (I) is in lux Note: All data taken with seasoned light source at 20 hours of life. Fixture output = 16,500 lumens with beam spreader in place.

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TheVARI! LITEVL3000Spotluminaire setsnewstandardsforimagery,beamcontrol, colorandbrightnessinspotluminaires. TheVARI! LITEVL3000Spotluminaire features6:1zoomoptics,CYMcolormixing, variableCTOcolortemperaturecorrection, asix-positioncolorwheel,threegobo/effects wheels,abeamsizeirisandseparatedimmer andultra-faststrobemechanisms.Astandard palletofgobos,effectsandcolorsisprovided withtheunit.Customgobos,effectsand colorsareavailable. Anupperenclosurehousesthecontrol electronicsaswellasthearcpowersupply forthe1200wattshortarclamp.Thearc powersupplyispowerfactorcorrected forefficientpowerdistribution. TheVL3000Spotluminairecanbe controlledfromawidevarietyof DMX-512consoles. Theluminaireisthesamesizeasthe VL3000Washluminaire,providinga consistenthangconfigurationand appearancenomatterwhichluminaire typeisrequired.VL3000Spotluminaire ProgrammableFunctionsColorSystem: Athree-filterCYMcross-fadingmechanism.Afixedcolorwheel withsixinterchangeablecolorfiltersandcontinuouswheelrotation foradditionaleffects.ItincludesavariableCTOcolortemperature correctionfilter. ZoomOptics: A13-element6:1zoomopticssystem,coveringarange from10to60. BeamSizeControl: Amechanicalirisprovidescontinuousbeamsizecontrolfor rapidandsmoothtimedbeamanglechanges. IntensityControl: Fullfielddimmingdesignedforsmoothtimedfadesaswellas quickdimmingeffects. Strobe: High-performancedualbladestrobesystemcapableof ultra-fastoperation. RotatingGoboWheels: Threegobo/effectswheelscombinetoprovide14rotatable, indexablegobopositions.Eachwheelalsohasoneopenposition. EdgeandPatternFocus: Variablebeamfocustosoftenedgesofgobosorspots.Remarkable depthoffieldcapabilityallowsmorphingeffectsbetweenallpattern andeffectswheels. PanandTilt: Smooth,time-controlledcontinuousmotionbywayofthree-phase steppermotorsystems. Range: Pan-540,Tilt-270. Accuracy: 0.3resolution.DescriptionSource: 1200WShortArcLampColorTemperature6000K CRI 85 FixtureOutput: 20,000lumens. PowerRequirements: StandardACpowerdistributionfrom200264VAC,50/60HZ. Theunitrequires7to12AdependingontheACsupplyvoltage. Reflector: Precisionglassreflectorsystemwithdichroiccoldmirrorcoating. OperationalTemperature: -20to122F(-29to50C). Cooling: Forcedaircooling. Control: CompletelycompatiblewithawidevarietyofDMX-512consoles. DMXChannels: 28 MountingPosition: TheVL3000Spotluminairecanbemountedandoperatedin anyorientation. Spacing: Hangson26in.(66cm)centers. Weight: 91lbs(41kg).Accessories22.9620.0194 SafetyCableAssembly 55.6840.0001 TrussHook,Mega-Clamp(RoundandSquare) 55.6841.0001 TrussHook,Mega-Claw(for2RoundTube) 71.9678.0012 1200WShortArcLampPART#:20.9678.0001 Vari-LiteisaPhilipsgroupbrand

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Vari-Lite 10911PetalStreet Dallas,TX75238 1.877.VARILITE fax:214.647.8038 www.vari-lite.comVL3000SpotluminaireZoomLensPosition Candela* BeamAngle BeamDiameter FieldAngle FieldDiameter (cd) TN1(degrees) TN1 NFOV 1,201,000 9.0 0.157 10.0 0.175 MFOV 104,400 31.0 0.555 35.0 0.631 WFOV 40,930 46.0 0.849 56.0 1.063 PhotometricData*1MultiplydistancebyTntodeterminecoverage. TocalculatecenterbeamIlluminance(I),ataspecicdistance(D):I=cd D2if(D)isinfeet,(I)isinfootcandles if(D)isinmeters,(I)isinlux *Note: Alldatatakenwithseasonedlightsourceat20hoursoflife. Fixtureoutput=20,000lumens. VL3000SpotLuminaire1200WMetalHalideAmechanicalirisprovidescontinuousbeamsizecontrol forrapidandsmoothtimedbeamanglechanges. Theunitcontainsapatternedglassdimmerwheelthat providesfullfielddimmingandallowsforsmoothtimed fadesandfastblackouts. Adualbladestrobeanddousingsystemprovides variablestrobeeffectscapableofrapidoperation. TheunitshallbeETLandETLccertifiedand CE-marked.Exteriorfinishisblack.SpecificationsTheunitisanintegrallydesigned,remote-controlled,motorizedspotluminaire. Thehead,yokeandenclosurehousingsareconstructedofaluminumalloyfor lightweight,strengthanddurability.Low-noisefansprovideforced-aircooling forinternalcomponents.Therearcapishinged,providingeasyaccesstothe lampforreplacement. AsingleACinputcablealongwithtwo,five-pinDMX-512compatible connectors(inandthrough)areprovided.Theunitcanbecontrolled fromawidevarietyofDMX-512consoles. Eachunitisequippedwithanon-boardprocessorprovidingdiagnostic andself-calibrationfunctionsaswellasinternaltestroutinesandsoftware updatecapabilities. Theunitcontainstwoindependentthree-phasesteppermotorstoprovide movementoftheheadthrough540inthehorizontalplane(pan)and 270intheverticalplane(tilt).Thepanandtiltmechanismsarebelt-driven, providingpositionalresolutionandrepeatabilityof0.3oneitheraxis. A6:1zoomopticssystemadjuststheprojectedfieldangleoverarangeof 10to60.Variablebeamfocusisprovidedtosoftentheedgesofgobosor spotsandtoprovidegobomorphing.Theprojectedimageremainsinfocus throughouttheentirezoomrange. TheunitcontainsaCYMcolormixingsystem,aswellasvariableCTOcolor temperaturecorrection. Onecontinuouslyspinning,removablecolorfilterwheelisincluded.Thecolor wheelholdssixinterchangeabledichroiccolorstoallowforcustomconfigurations. Theunitcomesequippedwithastandardpaletteofdichroiccolorfilters. (CustomcolorsareavailablefromVari-Lite.) Threegobo/effectswheelstwosix-position,onefive-positioneachcontaining individuallyrotating,indexablegobosandpatternedglasseffects.Therotating gobosareeasilyinterchangabletoallowcustomizationoftheunit.Theunitcomes equippedwithastandardsetofgobosandeffects.(Awideselectionofcolored andpatternedgobosandeffectsisavailablefromVari-lite.) PhilipsGroup.Allrightsreserved.PrintedintheU.S.A. VARI!LITE isatrademark ownedbyPhilipsGroupandisregisteredintheUnitedStatesandothercountries.VL3000and theVari-LiteAsteriskarealsotrademarksownedbyPhilipsGroup.Certainproductslistedinthis documentmaybeprotectedbyapplicablepatentsandpatentspending.Philipswillagressively defendallofitsintellectualproperty.Wereservetherighttochangedetailsofdesign,materialsand finishes.Specificationsaresubjecttochangewithoutnotice.VARI!LITE automatedlighting equipmentismadeintheU.S.A. VL3000S_0808

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VL2000 Spot luminaire The V ARI LITEVL2000Spot luminaire is based on the groundbreaking technology used in some of the most popular and innovative spotlights in the history of automated lighting. The VL2000 Spot luminaire features an upper enclosure that houses the control electronics as well as a power factor corrected arc power supply for the 700 watt short arc lamp. The VL2000 Spot luminaire also features a zoom lens system and rotating gobos. The luminaire is small, fast, lightweight and virtually silent. The VL2000 Spot luminaire accepts a wide variety of colors and gobos. Two fixed wheels are included, one factory configured for gobos and the second for color filters. Astandard palette of gobos and colors is provided with the unit. Custom gobos are also available. The VL2000 Spot luminaire can be controlled from a wide variety of DMX-512 consoles. Pr ogrammable Functions Zoom Optics: Continuously variable field angle from 19 to 43, programmable over a timed range of 2 seconds to 20 minutes. Beam Size Control: In addition to the zoom optics, a mechanical iris provides continuous beam size control for both rapid changes and smooth timed beam angle changes. Intensity Control: Full field dimming designed for both smooth timed fades and strobe effects. Color/Fixed Gobo Wheels: T wo wheels, each providing 11 easily loaded positions for dichroic color and gobo choices. Rotating Gobo Wheel: Six-position rotating gobo wheel with five rotatable, indexable gobo positions and one open position. Edge & Pattern Focus: V ariable beam focus to soften edges of gobos or spots. Pan & T ilt: Smooth, timed continuous motion by way of a three-phase stepper motor system. Range: Pan 540 Tilt 270. Accuracy: 0.3 resolution. Description Source: 700 W att Short Arc LampColor Temperature5600K CRI 80 Output: 15,500 lumens. Power Requirements: Standard AC power distribution from 90-264 VAC, 50/60 Hz. The unit requires 4 to 12 Adepending on the AC supply voltage. Reflector: Precision glass reflector with dichroic cold mirror coating. Operational T emperature: -20 to 122F (-29 to 50C). Note: Derate to 113F (45C for operation below 100 VAC). Cooling: Forced air cooling. Control: Completely compatible with a wide variety of DMX-512 consoles. Mounting Position: The VL2000Spot luminaire can be mounted and operated in any orientation. Spacing: Hangs on 19.0 in. (48.3 cm) centers. W eight: 55 lbs (25 kg) with rails. Accessories 71.2528.0700 700 W att Short Arc Lamp 22.9620.0194 Safety Cable Assembly 55.6840.0001 T russ Hook, Mega-Clamp, Round and Square 55.6841.0001 T russ Hook, Mega-Claw for 2" Round Tube P ART #: 20.9673.0001 a Genlyte company

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Specifica tions The unit is an integrally designed, remote-controlled, motorized spot luminaire. The head, yoke and enclosure housings are constructed of aluminum alloy, plastic and steel for lightweight strength and durability. Virtually silent fans provide forced-air cooling for internal components. The rear cap is removable, providing easy access to the lamp for replacement. Asingle AC input cable along with two, five-pin DMX-512 compatible connectors (in and through) are provided. The unit can be controlled by a wide variety of DMX-512 consoles. In addition, a built-in Master/Slave function enables operation of multiple luminaires without a control console. Each unit is equipped with multiple on-board processors providing diagnostic and self-calibration functions as well as internal test routines and software update capabilities. The unit contains two independent three-phase stepper motors to provide movement of the head through 540in the horizontal plane (pan) and 270in the vertical plane (tilt). The pan and tilt mechanisms are belt-driven, providing positional resolution and repeatability of 0.3on either axis. Two continuously spinning, removable filter wheels are integral to the luminaire. Each wheel holds up to eleven interchangeable dichroic color or gobo choices to allow for custom configurations. In addition, a gobo wheel containing five individually rotating, indexable gobos is included. Its operation is achieved by two motors, which provide independent drive regardless of the direction of movement. All five rotating gobos are easily interchangeable to allow further customization of the unit. (Awide selection of color and patterned gobos is available from Vari-Lite.) The unit contains an aluminum dimmer blade that provides full field dimming and allows for smooth timed fades and fast blackouts, as well as variable strobe effects.Amechanical iris provides continuous beam size control for both rapid changes and smooth timed beam angle changes. Variable beam focus is provided to soften the edges of gobos or spots and to provide gobo morphing. Apowerful zoom lens system offers an adjustable field angle from 19to 43. When used in combination with the beam size iris, the unit can project a beam with a field angle of 8. The unit is ETLand ETLc certified and CE marked. Exterior finish is black. Vari-Lite 10911 Petal Street Dallas, TX 75238 1 .877.VARILITE fax:214.647.8038 www.vari-lite.com 2005. Printed in the U.S.A. Specifications are subject to change without notice. VARI LITEis a registered trademark of Genlyte Thomas Group LLC. VL2000is a trademark of Genlyte Thomas Group LLC. VARI LITEautomated lighting equipment is made in the U.S.A. VARI LITEproducts are protected by patents granted and pending in the U.S. and other countries. VL2000 Spot luminaire 03/05, 5K Photometric Da ta* 1Multiply distance by Tn to determine coverage. To calculate center beam Illuminance (I), at a specic distance (D): I = cd D2 if (D) is in feet, (I) is in foot candles if (D) is in meters, (I) is in lux Note: All data taken with seasoned light source at 20 hours of life. Fixture output = 15,500 lumens. Zoom Lens Positions Candela* Beam Angle Beam Diameter Field Angle Field Diameter ( cd) (DEGREES) TN1(DEGREES) TN1 NFOV 297,000 15.0 .263 18.5 .326 MFOV 104,000 25.0 .443 30.5 .545 WFOV 050,000 34.5 .621 42.5 .777 VL2000 Spot Luminaire 700W Metal Halide a Genlyte company 27.125" (68.9 cm) fully extended vertical 17.25" (43.8 cm) 18.5" (47 cm) 19" (48.3 cm) 25.375" (64.5 cm)

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User Manual

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24-inch Color Changer (Model #4540) 7-inch Color Changer (Model #7140)Software version: FR22, FR23, FR26 Manual revision: June 2006CONTENTSDeclarations of Conformity.........................................3 Safety Information......................................................5 Introduction................................................................9 The Forerunner System.............................................9 Using the Forerunner...............................................10 The Forerunner components....................................10 Color changer...................................................10 Gelstring...........................................................11 Power supply....................................................11 Cables..............................................................12 Installing The Forerunner.........................................12 Mounting and installation accessories......................14 Power supply hanger bracket...........................15 Color changer mounting plate...........................15 Replacing a gelstring...............................................16 Specifications....... ....................................................19 Parts list...................................................................21 Warranty information................................................22 Gelstring order form.................................................23

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3

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4Safety InformationSAVE THESE INSTRUCTIONS READ AND FOLLOW ALL INSTRUCTIONSThis manual gives step-by-step instructions for the preparation, setup, and operation of the Forerunner Color Changer. There is a potential risk of fire, electric shock or injury to persons if the product is not used as instructed. WARNING: When using electrical appliances, use basic precautions, including: Read this manual before connecting power. Use supervision around children. Do not touch moving parts. Only use attachments recommended or sold by Wybron. Use in a dry location only. The Forerunner Color Changer is to be used in an indoor environment only and is not intended for residential use. For continued protection against risk of fire, replace only with same type and rating of fuse. Protection against electric shock is assured only if the mains connected power supply cord set is connected to a properly earthed grounding type receptacle. An all pole disconnect device must be located adjacent to the unit or, if the AC cord is used as the main disconnect device, ensure that the socket-outlet is located/installed near the equipment and is easily accessible. THE MAINS LEADS ARE COLORED IN ACCORDANCE WITH THE FOLLOWING CODE AND MUST BE CONNECTED IN THE FOLLOWING SCHEME: GREEN AND YELLOW: EARTH BLUE: NEUTRAL BROWN: LINE WARNING: THIS EQUIPMENT MUST BE EARTHED. For questions, contact Wybron at 1-800-624-0146 or visit www.wybron.com. Product Modification Warning Wybron, Inc. products are designed and manufactured to meet the requirements of United States and International safety standards. Modifications to the products could affect safety and render the product non-compliant to relevant safety standards.

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5Notes de ScuritEPARGNER CES INSTRUCTIONS LIRE ET SUIVRE TOUTES INSTRUCTIONSCe manuel donne des instructions pour la preparation, lorganisation, et lopration du Forerunner colorer changer. Il y a un risqu de feu, dcharge lectrique, ou la blessure aux gens si le produit nest pas utilize comme instruit. AVERTISSEMENT: En utilisant des appareils lectriques utilise la prudence fondamentale inclut: Lire ce manuel avant d'alimenter ou l'installation de l'accessoire. Utiliser la prudence prs des enfants. Ne pas dranger de composant pendant qu'ils se dplacent. Seulement les composants d'usage ont vendu ou recommand par Wybron. Scher l'emplacement seulement. Le Forerunner colorer changer va tre utilize la maison seulement et pas pour lusage residential. Pour la protection continue contre le risque de feu, remplacer seulement avec le mme type et le mme classement de fusible. La Protection contre la dcharge lectrique est seulement assure si la srie de corde connecte principale est connecte un convenablement terre de type. Un appareil dbranchant doit tre localis ct de l'unit ou, si la corde de courant alternatif est utilise comme le principal dbranche l'appareil, S'assurer que la douille-sortie localise/install prs de l'quipement et est facilement accessible. LES AVANCES PRINCIPAUX SONT CONFORMEMENT COLORES AU CODE SUIVANT ET DOIVENT ETRE CONNECTES DANS L'ARRANGEMENT SUIVANT : vert et jaune terre bleu neutre marron ligne L'AVERTISSEMENT CET EQUIPEMENT DOIT ETRE FONDE. Pour les questions, Wybron de contact 1-800-624-0146 ou visite www.wybron.com. LAvertissement de Modification de Produit Les produits de Wybron, Inc. sont conus et a fabriqu pour rencontrer les conditions dEtatsUnis et de norms de sret internationals. Les modifications aux produits pourraient affecter la sret et rendent le produit non-conciliant aux normes de sret pertinentes.

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6Aviso Sobre SeguridadSALVE ESTAS INSTRUCCIONES LEA Y SIGA TODAS INSTRUCCIONESEste manual da el paso por paso las instrucciones para la preparacin, para arreglo, y para la operacin del Forerunner colore rollo. Hay un riesgo potencial del fuego, el calambre o la herida a personas si el producto no se utiliza como instruido. ADVERTENCIA: Cuando se usa electrodomsticos, el uso las precauciones bsicas, incluyendo: Lea este manual antes de accionar o instalar la instalacin fija. Supervise a nios cercano. No toque los componentes mientras ellos mueven. Slo utilice con componentes vendido o recomendado por Wybron. Seque ubicacin slo. El Forerunner colore rollo deber ser utilizado en un ambiente interior slo y no es pensado para el uso residencial. Para la proteccin continuada contra el riesgo del fuego, reemplaza slo con mismo tipo y calificacin de fusible. La Proteccin contra calambre se asegura slo si el conjunto conectado principal de cuerda es conectado a un apropiadamente earthed que muele receptculo de tipo. Una toda asta desconecta dispositivo se debe localizar adyacente a la unidad o, si la cuerda de C.A. se utiliza como el principal desconecta dispositivo, asegure que la enchufe-salida localiza/instalado cerca del equipo y sea fcilmente accesible EL PRINCIPAL DIRIGE SON COLORADOS DE ACUERDO CON EL CODIGO SIGUIENTE Y se DEBE CONECTAR EN EL ESQUEMA SIGUIENTE: verde y amarillo moli/la tierra azul neutral brown lnea La ADVERTENCIA ESTE EQUIPO DEBE SER EARTHED. Para preguntas, el contacto Wybron en 1-800-624-0146 o visita www.wybron.com. Advertencia de Modificacin de Producto Wybron, los productos S.a. se disean y son fabricados para encontrar los requisitos de Estados Unidos y estndares Internacionales de seguridad. Las modificaciones a los productos podran afectar la seguridad y rendir el producto no conformista a estndares pertinentes de seguridad.

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7SicherheitshinweiseBEHALTEN SIE DIESEN ANWEISUNGEN LESEN SIE UND GEHORCHEN SIE ALLEN ANWEISUNGENDieses Handbuch gibt Schritt fr Schritt Anweisungen zur Vorbereitung, Aufstellung, und Funktion dem Forerunner. Es gibt ein potenzielles Risiko des Feuers, Elektroschocks oder Verletzung zu Personen, wenn das Produkt nicht benutzt ist, als unterrichtet ist. WARNUNG: Beim Benutzen elektrischer Gerte, Gebrauch grundlegende Vorsichtsmanahmen, einschlielich: Lesen Sie dieses Handbuch vor Betreiben oder Installieren des Inventar. Benutzen Sie Aufsicht nahe Kinder. Berhren Sie Bauteile nicht, whrend sie bewegen. Nur Gebrauch mit Bauteilen verkauft oder hat durch Wybron empfohlen. Trocken Sie Ort nur. Der Forerunner soll in einer Hallenumwelt nur benutzt werden und ist fr Heimumwelt nicht vorgehabt. Fr fortgesetzten Schutz gegen Risiko des Feuers, ersetzt nur mit gleichem Typ und Bewertung der Sicherung. Schutz gegen Elektroschock ist nur gezusichert, wenn die Hauptleitungen Schnursatz verbunden haben, ist an eine ordentlich earthed Erdung von Behlter angeschlossen. Eine alle Stange schaltet Vorrichtung muss sich befunden werden neben der Einheit ab oder, Wenn die AC Schnur benutzt ist, whrend die Hauptleitung Vorrichtung abschaltet, Sichert, dass der Steckdosensteckdose ist befunden/nahe die Ausrstungen installieren, und ist leicht zugnglich. DIE HAUPTLEITUNGEN BLEIE SIND GEMSS DEM FOLGENDEN CODE GEFRBT UND MSSEN IM FOLGENDEN SCHEMA VERBUNDEN WERDEN: Grn und Gelb Erden Sie/Erde Blau neutral Braun linie WARNUNG DIESE AUSRSTUNGEN MUSS EARTHED WERDEN. Fr Fragen Kontakt Wybron an 1-800-624-0146 oder besucht www.wybron.com. Produktnderungswarnung Wybron, Inc. Produkte sind entworfen und sind hergestellt, die Voraussetzungen von Vereinigten Staaten und Internationalen Sicherheitsstandards zu erfllen. nderungen zu den Produkten knnten Sicherheit beeinflussen und knnten das Produkt leisten das verordnungswidrig ist zu relevanten Sicherheitsstandards.

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8IntroductionThe Forerunner system is a scrolling color changer, available in 4-inch and 7-inch models, and a power supply offering ease of setup and use. Its 16-color capacity and DMX compatibility affords the designer economy and versatility, particularly when budget and space are limited. The lightweight color changers slide easily into the gel frame holder of the light fixture and the compact PS Power Supply attaches easily to the truss of the lighting rig. This manual gives step-by-step instructions for preparation, setup and operation of the Forerunner Color Changer.The Forerunner SystemThe Forerunner System consists of one or more color changers and a remote power supply which can power up to 64 color changers. The DMX512 control signal from the lighting board is connected to the power supply and can continue onto more PS Power Supplies or other DMX-controlled devices. The power supply sends both power and control signal on a single cable eliminating the need for a separate power cable for each color changer. Caution: The Forerunner System is not compatible with the Coloram II/RAM System. Do not connect Coloram II Color Changers to PS Power Supplies, or Forerunner Color Changers to Coloram II (RAM) Power Supplies. Damage from such action will not be covered by the Forerunner or Coloram II warranties. PS-150 Power Supply Forerunner Color Changer AC Power To additional Forerunner Color Changers To additional PS Power Supplies To additional Forerunner Color Changers DMX512 DMX512 Control Buffered DMX512

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9Using The ForerunnerThe Forerunner Color Changer sets its frame position according to the DMX512 level it receives from the control console for the channel it is set to. The following chart shows the level settings that correspond with each frame position. The color of each frame position will be determined by your custom gelstring specification. Channel Level Frame Position 00 Frame 1 07 Frame 2 14 Frame 3 21 Frame 4 28 Frame 5 34 Frame 6 42 Frame 7 48 Frame 8 55 Frame 9 61 Frame 10 68 Frame 11 75 Frame 12 80 Frame 13 88 Frame 14 94 Frame 15 FL Frame 16 If you send a channel level that is between the values shown, you can create split frame effects. For example, if you send a level of 51, the color changer positions the gelstring halfway between frame 8 and frame 9 creating a blend of the two colors.The Forerunner ComponentsColor ChangerThe Forerunner Color Changer works with a 16-frame gelstring. The position of the gelstring is controlled by DMX signal distributed from the power supply. The color changer is powered by 24 volts DC from the power supply. The control signal and DC power are both supplied in the one cable connecting the color changer to the power supply.

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10GelstringThe gelstring is a series of 16 precisely-cut, colored gel frames joined together, side by side, to create a sequence of colors. Two additional gels at each end of the gelstring are called the leader and the trailer and are five inches wide to allow for proper attachment to the rollers. If you need to replace a gelstring in your color changer, detailed steps for this procedure are on page 16.Power SupplyNote: As of June 2006 the Forerunner ships with a PS-150, PS-300 or PS-600 Power Supply, however, Forerunner will still operate with Forerunner Power Supplies. The power supply has two color changer outputs and provides each color changer with DMX signal and 24 volts DC. The power supply features a DMX bypass relay to pass the DMX signal to the DMX output connector in the event of AC power loss. AC power is indicated by a red LED which can be viewed from the stage. Leader Frame 1 Frame 2 Frame 15 Frame 16 Trailer Figure 3 4-inch Forerunner 7-inch Forerunner

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11CablesThe Forerunner cable connects each of the two power supply outputs to a daisy chain of up to eight Forerunner Color Changers and provides the color changers with power and control signal. The Forerunner cable uses 4-pin XLR connectors on either end and consists of two -14 AWG conductors and a 22 AWG twisted, shielded pair. Note:The cable used in the Forerunner System is the same cable which is used in the RAM/Coloram II System and may be referred to as either RAM/Coloram II cable or Forerunner cable.Installing the ForerunnerTo get your Forerunner System up and running, follow these hookup and checkout procedures.1.Set the DMX512 color changer channelsEach color changer is assigned an individual DMX address to which it will respond from the lighting console. The addresses are set via the three rotary switches located on the back of each color changer. Valid DMX addresses are 001 512.

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122.Attach the color changer to the fixtureSlide the color changer's mounting bracket into the gel frame holder of your fixture and lock the gel frame retention clip (if available). If the mounting plate installed on your color changer doesn't fit the fixture, you may replace it with a differently sized plate. See page 15 for information on changing mounting plates. The mounting plate allows you to position the color changer with the gelstring rolling either horizontally or vertically. However, Forerunner operates most effectively with the fan blowing air vertically (as hot air naturally rises).3.Attach the safety cableA safety cable is attached to the back, right hand side of the color changer. Run this cable around the pipe or truss from which you hang the light fixture and clip it to itself (fig. 5).4.Attach the power supply to the trussThe Power Supply is designed to attach directly to the pipe or truss of your lighting rig. The power supply comes with a mounting bracket which hooks over the pipe or truss and is then locked into place with a thumb screw. Once you have the power supply positioned and locked into place, connect the safety cable by running it around the pipe or truss to which the power supply is attached. Note:For cabling purposes, it may be preferable to position your power supply toward the center of the pipe or truss and daisy chain either direction from it. Figure 5

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135.Connect the color changers to the power supplyConnect the color changers to the power supply using the supplied 4-pin power/signal cable. The connectors are on the back of the color changers and the front of the power supply. Note:Both power and signal are supplied to the color changers on the same cable. The power supply has two color changer outputs. Each output will control up to eight color changers with a maximum of 350 feet of cable per output.6.Connect the power supply to AC powerPlug the AC cord into a non-dimmed power circuit. Input voltage: 100-240V~50/60Hz 3-1.5A Fuse:250V 2A SloBlo for 100-120V~ 250V 1A SloBlo for 220-240V~ Power at the power supply is indicated by a red LED which can be viewed from the stage. Power is also indicated by a red LED on the bottom of each color changer. All connected color changers will position their gelstrings to frame 1. Caution: Do not power the power supply from a dimmer. Severe damage will result, and is not covered by product warranty.7.Connect and set the DMX512 sourceConnect the DMX512 signal source to the DMX input connector on the front of the power supply using standard DMX cable. Valid DMX signal will be indicated by a green LED on the bottom of each color changer. Also, the color changers will now position their gelstrings according to their respective DMX signal levels.Mounting and installation accessoriesThe components of your Forerunner System may require the installation of additional mounting accessories or the replacement of others. Some of these accessories, such as the power supply hanger bracket and your choice of one color changer mounting plate, are supplied while other accessories, such as additional mounting plates, may need to be purchased separately. The following sections describe the procedures for installation and replacement of these accessories

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14Power supply hanger bracketThe PS Power Supply is shipped with a hanger bracket to allow pipe or truss mounting. The hanger bracket will need to be installed prior to the Forerunner System installation. Follow these steps to install the hanger bracket. 1.Disconnect AC power from the power supply. 2.Place the power supply upside down on a flat surface. 3.Position the bracket as shown below. 4.Attach the bracket using a 3/16" Allen wrench and the supplied screws. Note:Use the supplied thumb screw to clamp the hanger bracket to the desired pipe or truss.Color changer mounting plateThe Forerunner Color Changer ships with your choice of available mounting plates installed. It may be necessary, when mounting the color changer on different light fixtures, to replace the mounting plate. Follow these instructions to replace the mounting plate. 1.Place the color changer on a flat surface, with The Forerunner logo face down. 2.Unscrew the four screws which hold the current mounting plate on. 3. Place the replacement mounting plate on the color changer, aligning the screw holes properly. 4.Fasten the four corners of the mounting plate to the color changer Figure 6

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15 using the same screws you removed in step 2. Note:Always use the supplied screws, as they are treated with an anti-vibration compound to keep them from loosening.Replacing a gelstringAt some point in time you may find that you need to replace the gelstring in your color changer, either because the old one wears out, or because you want a different selection of colors. The Forerunner's AutoloadTM feature makes this quick and easy. Caution: Operating the Forerunner Color Changers with damaged gelstrings will damage the color changers. Replace the gelstrings before damage occurs. Note:The gelstring must be 16 frames long for proper operation. If a frame is damaged, do not remove a frame and splice the gelstring. Replace the gelstring. Gelstrings may be ordered from ColorExpress by WYBRON. Call 1-800-624-0146. Mounting plate Mounting plate screws Figure 7

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16 Caution: Do not force the rollers to turn when moving them by hand. If they do not turn easily, you have not disconnected the color changer from the power supply and should do so immediately .Remove the old gelstringThis procedure is performed with no power to the color changer. 1.Place the color changer on a flat surface with the Forerunner logo facing up. 2.Remove the front panel by unscrewing the two thumb screws at the top right and left corners of the front door as shown in the first picture on the left. 3.Gently roll the gelstring onto the left roller, exposing the clear leader taped on the right roller. 4.Untape the leader from the right roller. Remove the tape from the leader. 5.Roll the gelstring into a tube, slowly rolling it off of the left roller. 6.When you reach the clear trailer, untape it from the roller. Hint: To save time, move all gelstrings to frame one via the DMX source before disconnecting power.Install the new gelstringNote:Use gaffer's tape to attach the gelstrings to the rollers. Do not use duct tape or masking tape. Thumb screws LOAD GEL ADJUST GELFigure 8 Right roller (Trailer/frame 16) Left roller (Leader/frame 1)

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17 1.Apply power to the color changer. 2.Press the recessed "Load Gel" button located in the lower right hand corner of the color changer. The rollers will rotate to the trailer load position. The rapidly flashing "DMX" LED indicates the rollers are either moving toward the trailer load position or are at the trailer load position. 3.Put a strip of gaffer's tape on the edge of the gelstring trailer. Holding the trailer, let the rest of the roll hang off the right side of the color changer. 4.Center the edge of the trailer between the two ends of the left roller as shown to the left. Tape the trailer along the top of the roller as shown. 5.Hold the gelstring loosely in your right hand and press the "Load Gel" button again. The rollers will rotate to the leader load position. This will wind the gelstring onto the left roller. The "DMX" LED will flash slowly to indicate the rollers are either moving toward the leader load position or are at the leader load position. 6.Turn the "Adjust Gel" trim pot to bring the leader end of the gelstring to the top center of the right roller. Gel material of different thickness will cause variation in the leader end position. This is normal. 7.Put a strip of gaffer's tape on the gelstring leader. 8.While holding the end of the gelstring, turn the spring roller 3.5 turns toward the drive roller. The sticker at the bottom end of the roller has a black line on it to help you judge the number of turns 9.Tape the gelstring to the spring roller. 10.Press the "Load Gel" button once again. The gelstring will now move to the first frame if no DMX signal is present or to the commanded DMX level if it is. 11.Replace the front panel and tighten the thumb screws securely. Note:As the gelstring becomes worn, you may find it necessary to adjust the position of frame 1. This is normal and is done by turning the "Adjust Gel" trim pot. Figure 11 Gaffers tape Frame 16 Frame 16 Trailer

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18SpecificationsForerunner Color Changer (Model #4540 and #7140)Operating voltage: 24V @ 0.3A DMX termination: Not required End to end speed: 5 seconds Fan: Single speed Gelstring: 16 colors Individual DMX address: 001 512 Fixture compatibility (with optional mounting plates): 4-inch Forerunner --Source Four --Shakespeare 600 --Other fixtures with 6.25" gel frames 7-inch Forerunner --Source Four --Shakespeare 600 --Other fixtures with 6.25" gel frames --Source Four PAR --PAR 64 --Full size ellipsoidals LED Indicators: Power and DMX512 signal Power supply compatibility: --Forerunner Power Supply --Rainbow Power Supply --ChromaQ Power Supply Weight:4-inch 3.44 lbs./1.56 kg 7-inch 3.92 lbs./1.77 kg Power Supply 4.28 lbs./1.94 kgForerunner gelstring4-inch Forerunner: --Frame width: 8" --16 frames plus leader and trailer --Frame height: 6 1/8" --Working length: 128" --Leader: 5" --Overall length: 138" --Trailer: 5" 7-inch Forerunner: --Frame width: 10" --16 frames plus leader and trailer --Frame height: 7 1/16" --Working length: 160" --Leader: 5" --Overall length: 170" --Trailer: 5"

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19Power SupplyCapacity: 16 Forerunner Color Changers Color Changer compatibility: --Forerunner Color Changers --Rainbow Color Changers --ChromaQ Color Changers Connectors: --DMX in: Male 5-pin XLR --DMX out: Female 5-pin XLR --Color changer out x 2: Female 4-pin XLR Power loss DMX bypass relay: Yes DMX512 termination: Terminated and regenerated Fuse: --250V 2 amp SloBlo at 100-120V~ --250V 1 amp SloBlo at 220-240V~ Input Voltage: 100-240V~ 50/60Hz 3-1.5A Input Signal: 1990 USITT standard DMX512 LED indicator: PowerForerunner cableThe Forerunner cable uses 4-pin XLR connectors on either end and consists of two -14 AWG conductors and a 22 AWG twisted, shielded pair. XLR Pin #Wire ColorFunctionSize 1 WhiteGround14 AWG 2 GreenData -22 AWG 3 RedData +22 AWG 4 Black24 Volts DC14 AWG Note: The maximum amount of cable per color changer output on the power supply is 350 feet. The maximum number of color changers per color changer output on the power supply is eight (8). Wybron uses the same cable for the Forerunner and RAM/Coloram II Systems, therefore the cable may be called either Forerunner Cable or RAM/Coloram II Cable.DMX512 control cableThe DMX control cable from the lighting board to the power supply is a five conductor cable with 5-pin XLR connectors on each end. The wiring pin out is specified by the USITT DMX512/1990 standard. XLR Pin #Function 1 Common 2 Data 3 Data + 4 Talkback 5 Talkback +

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20Parts listTo order any of the following items, contact your authorized WYBRON dealer.Forerunner color changers and power supplies4540.................................................4-inch Forerunner Color Changer 7140.................................................7-inch Forerunner Color Changer 20150...............................................PS-150 Power Supply 20300...............................................PS-300 Power Supply 20600...............................................PS-600 Power Supply 4549-16............................................4-inch Forerunner gelstring 7149-16............................................7-inch Forerunner gelstringForerunner mounting and installation accessories715-01-03P.......................................Power supply hanger bracket SCRWC252075................................Wing screw for power supply hanger .........................................................bracket to pipe SCRSC2520037...............................Socket cap screw for hanger bracket to .........................................................power supply 452-01-03P.......................................6.25"/158.75mm mounting plate for 4-inch .........................................................color changer 452-03-04 6.25"/158.75mm mounting plate for 7-inch .........................................................color changer 703-01-03P.......................................7.5"/190.5mm mounting plate for 7-inch .........................................................color changer 703-01-05P.......................................10"/254mm mounting plate for 7-inch color .........................................................changer SCRPH832037.................................Pan head screws for mounting plate to .........................................................color changerForerunner System cable7042-3..............................................3' power/signal cable 7042-5..............................................5' power/signal cable 7042-10............................................10' power/signal cable 7042-15............................................15' power/signal cable 7042-25............................................25' power/signal cable 7042-50............................................50' power/signal cable 7042-75............................................75' power/signal cable 7042-100..........................................100' power/signal cable

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21Warranty InformationWYBRON, INC. warrants to the original owner or retail customer that for a period of one year from date of delivery of a portable system or energization of a permanently installed system (up to a maximum of 18 months from delivery) its products will be free from defects in materials and workmanship under normal use and service. Warranty does not cover any product or part of a product subject to accident, negligence, alteration, abuse, misuse or any accessories or parts not supplied by WYBRON, INC.. Warranty does not cover "consumable" parts such as fuses, lamps, or color media. WYBRON, INC.'s warranty does not extend to items not manufactured by us. Freight terms on warranty repairs are FOB WYBRON, INC. factory or designated repair facility. Collect shipments or freight allowances will not be accepted. WYBRON, INC.'s sole responsibility under this warranty shall be to repair or replace at WYBRON, INC.'s option such parts as shall be determined to be defected on WYBRON, INC.'s inspection. WYBRON, INC. will not assume any responsibility for any labor expended or materials used to repair any equipment without WYBRON, INC.'s prior written authorization WYBRON, INC. shall not be responsible for any incidental, general or consequential damages to property, damages for loss of use, time, profits or income, or any other charges. The owner's obligations during the warranty period under this warranty are to notify WYBRON, INC. at WYBRON, INC.'s address within one week of any suspected defect, and return the goods prepaid to WYBRON, INC. at their factory or authorized service center. This warranty is contingent on the customer's full and timely compliance with the terms of payment set forth in said purchase order. This warranty is expressly in lieu of any and all other warranties expressed or implied including the warranties of merchantability and fitness for a particular purpose and of other obligations and liabilities on our part. The owner acknowledges that no other representations were made to him or relied upon him with respect to the quality and function of the goods sold. This written warranty is intended as a complete and exclusive statement of the terms thereof. Prior dealings or trade usage shall not be relevant to modify, explain or vary this warranty. Acceptance of, or acquiescing in, a course of performance under this warranty shall not modify the meaning of this agreement even though either party has knowledge of the performance and a chance to object. WYBRON, INC. TEL 719-548-9774 FAX 719-548-0432 Email: info@wybron.com Visit us on the World Wide Web at http://www.wybron.com

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22Forerunner 16 Frame Gelstring Order FormWybron Standard Theatre Colors Wybron Standard Rock-n-Roll Colors Frame Filter Mfgr./ Color Number Color Name Frame Filter Mfgr./ Color Number Color Name 1 W-15 Clear Leader 1 W-15 Clear Leader 2 G480 Medium Yellow 2 G450 Saffron 3 G385 Light Amber 3 G345 Deep Amber 4 G340 Light Bastard Amber 4 G355 Amber Flame 5 G335 Coral 5 G245 Light Red 6 G345 Deep Amber 6 G250 Medium Red XT 7 G270 Red Orange 7 G120 Bright Pink 8 G195 Nymph Pink 8 G995 Orchid 9 G120 Bright Pink 9 G948 African Violet 10 G970 Special Lavender 10 G930 Real Congo Blue 11 G948 African Violet 11 G810 Moon Blue 12 G720 Light Steel Blue 12 G835 Aztec Blue 13 G810 Moon Blue 13 G850 Blue (Primary) 14 G850 Blue (Primary) 14 G710 Blue Green 15 G540 Pale Green 15 G690 Bluegrass 16 G690 Bluegrass 16 G655 Rich Green Custom Forerunner gelstringAny combination of color filter manufacturer's gels can be combined to create a custom Forerunner gelstring. Please specify using the following format. Specify: (G) GAM, (L) Lee, (R) Rosco with the color number and the color name. Frame Filter Mfgr./ Color number Color name 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

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www.ledworldlighting.com Call 1-800-387-4081 (403)256-0074...it's what we do with light! HOME LINKS EMAIL CART EMAIL US Questions? 1-800-387-4081 Call, we can help! LED CURTAIN LIGHTS LED Curtain Lights is a decorative lighting that has strings of miniature LED's attached to a main flexible socket cord that is extendable (3 max). The width is size is 5 feet and the length is 7.7 or 11.8 feet long string drops for the two models noted below. Applications: Unique & Versatile Decorative Lighting System! Create spectacular walls of light for back drops on stage or hang this unique lighting from ceiling to create a shower of light! Easily attaches and stores away in a small box. Features: Connect Up To three identical LED Curtains. Very Bright & Low power Consumption of LEDS makes setup easier. Little or no heat from LED's. Hang from ceilings or attach to walls. Create a spectacular back drop! Long life span of LED lights, 20,000 hours+. Very Bright: brighter than our incandescent Curtain lights. Easy to install! 100% Solid state design. No glass bulbs or flimsy filaments to break! Designed for Commercial use only and not for homes use. PRODUCT SPECIFICATIONS: 120V LED INDOOR CURTAIN LIGHTS -FOR COMMERCIAL USEEXTENDABLE: The socket cord is extendable to join other identical LED Curtain light set. Three identical sets can connect together for a maximum of 15 feet wide. Note: follow all instructions enclosed. Never mount lighting in a manner that can damage or tear the electrical wiring. NEVER place LED Curtain in doorways or places that can be walked through! Do not place on floor or wet areas (for indoor use only). Keep out of children's reach. *Please note that due to the manufacturing procedures of LED white, we cannot guarant ee a specific color temperature. Colors or pictures indicated on our website or in other forms are genera l description only, and may not be accurate. Color of white LEDs will vary. *WARM WHITE TOP, PURE WHITE BELOWITEM NO. LED COLOR LED SPACING LIGHTS/SET HORIZONTAL WIDTH/FT WATTS /SET VERTICAL LENGTH FT PRICE SET CART LED-PL-2515-8X5FT-120V-W PURE CRYSTAL WHITE4" 375 5' 36 7.5' $149.00SOLD OUTLED-PL-3515-12X5FT-120V-WPURE CRYSTAL WHITE4.1" 525 5' 36 11.8' $169.00SOLD OUT PRODUCT INFORMATIONLED COLOR*: PURE CRYSTAL WHITE LEDS color (neutral white) color is about 4,400 to 4,800k. These are custom colors of white that is changed each year. Warm white is about 3200k +/400k (mimics the look of incandescent bulbs). Please expect some color variation of white LEDS especially Warm white due to the manufacturing process of LEDS. EXTENDABLE: The socket cord is extendable to join other identical LED Curtain light set. Three identical sets can connect together for a maximum of 15 feet wide. Note: follow all instructions enclosed. Never mount lighting in a manner that can damage or tear the electrical wiring. NEVER place LED Curtain in doorways or places that can be walked through! Do not place on floor or wet areas (for indoor use only). Keep out of children's reach. *Please note that due to the manufacturing procedures of LED white, we cannot guarant ee a specific color temperature. Colors or pictures indicated on our website or in other forms are general description only, and may not be accurate. Color of white LEDs will vary. Prices in USD LED CURTAIN http://www.ledworldlighting.com/curtain.html 1 of 3 5/29/12 8:05 PM

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Characteristics Absolute Maximum Ratings @ Ta=25C PARAMETER MAXIMUM UNIT Flux Characteristics (Tj = 25C) Color Lumen CCT Range CRI PARAMETER Test Condition Min Typ Max UNIT General Specifications

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All measurements in millimeters unless otherwise noted

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DIMENSIONS ARCHITECTS' & ENGINEERS' SPECIFICATIONS ORDERING CODE PHOTOMETRICS A. Head length including all controls 37" B. Head height 18" C. Overall height with base 551/2" D. Height of pivot 44"*Additional upward height adjustment of 13" *Width of base32" Width of head incl. all controls 14" Head weight 78 lbs. Base weight 41 lbs. 1209 1209/HY 1209/240 1209/HY/240 Midget HP Midget HP Midget HP 240 volt Midget HP Hanging with Hanging Yoke Yoke 240 volt The luminaire shall be a 575 watt follow spotlight designed to accept only a MSR 575HR or HMI 575 W/SE type metal halide lamp. The field diameter of the beam shall be continuously variable from flood to spot by an internal heavy duty nichrome steel iris. A spread lens system shall be included to increase the width of the projected spot in the horizontal plane. A five color automatic boomerang plus a dowser shall be included. The unit shall include externally controlled, horizontal stainless steel trim shutters. Individually operated shutters shall not be acceptable. Lamp access shall be via a rear lamp drawer. External lamp axes "x" and "y" plus field adjustment shall be provided. Lamp focus with the lamp house open shall not be acceptable or necessary. The lamp shall be fitted with a double actuated safety switch to prevent lamp operation with the lamp house open. The unit shall contain only optical grade lenses. The luminaire shall be cooled by two fans such that the unit will operate at the proper temperature. An approved power supply and ignitor shall be internally mounted. Extended (box) ballast shall not be acceptable. A circuit breaker, illuminated rocker "off/on" switch and line cord terminated in a NEMA-5-15P connector shall be provided. Housing shall be of extruded aluminum and cold rolled sheet steel. Housing dimensions shall not exceed 37"(L) x 14"(W) x 18"(H). Net weight for the floor stand shall not exceed 41 lbs. The floor stand assembly shall be of the telescoping three legged folding type and shall include both casters and leveling jacks. Allowable downward tilt is 70 degrees below horizontal and 40 degrees above horizontal. Current draw at 120V A/C shall not exceed 6.5 amperes. The luminaire shall be a Lycian Stage Lighting Midget HP, model 1209. The luminaire shall be UL listed and labeled for use with 575 watt HMI type metal halide lamp. LYCIANSTAGE LIGHTINGTHROW 40 ft. 906 6.5 906 7.5 421 7.5 x 14.5 11.0 x 22.0 18.0 x 36.0 25.5 x 51.0 36.5 x 73.0 403 10.5 403 11.0 185 145 17.0 145 18.0 68 74 24.0 74 25.5 32 36.1 35.0 36.1 36.5 15 60 ft.100 ft.140 ft.200 ft. SMALL SPOT Footcandles Diameter (in.) LARGE SPOT Footcandles Diameter (ft.) LARGE SPOT (SPREAD LENS)Footcandles Max. width of beam (ft.) (Height x Width) PO BOX D, KINGS HIGHWAY SUGAR LOAF, NY 10981-0214 U.S.A. PHONE: (914) 469-2285 FAX: (914) 469-5355All specifications subject to change. 1996 Lycian Stage Lighting MIDGET HPMODEL 1209

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WHOLEHOGultimate lighting control with legendary Wholehog operating softwareWholehog3 Console Road HogFull BoarConsole Road HogConsole Hog3PC Software

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Starting with the original Wholehog in 1992 and then the legendary Wholehog 2 in 1994, millions of productions worldwide have used our lighting consoles to bring countless designs to life. The control family has grown and improved and now includes the Wholehog 3, Road Hog Full Boar, Road Hog and Hog 3PC. Each uses the same software to allow designers and programmers a consistent, reliable and expandable control solution for lighting the stage, studio or dance floor. From conception to completion, the comprehensive feature set included within Wholehog software gives designers and programmers all the tools needed to get the job done. The generic library model offers real world units, intelligent parameter adjustments, as well as quick copy and change fixture utilities. Dual color modes --including graphical color and gel pickers -ease operation of all types of fixtures, while powerful programming and timing functions supply generous abilities to the programmer. Multi-user networking allows for multiple console setups and wireless remote focus abilities as well as distributed DMX processing. The intuitive user interface and common key layout provides quick and familiar access to both programming and playback routines. Wholehog consoles, scaled for a range of budgets and solutions, offer users significant advances in technology whether using conventional, automated or digital lighting. Paired with intelligent Wholehog software with its multiple expansion possibilities, users now have the best of both worlds and the ultimate choice in lighting control. POWER IS NOTHING WITHOUT POWER IS NOTHING WITHOUT POWER IS NOTHING WITHOUT

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CONTROLWHOLEHOG CONSOLES DELIVER BOTH CONTROLWHOLEHOG CONSOLES DELIVER BOTH CONTROLWHOLEHOG CONSOLES DELIVER BOTH

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The Wholehog 3 represents the contemporary evolution of a world-renowned lighting console legacy. It has a refined and sophisticated presence thats unmistakable: the unique silhouette, precisionmachined aluminum and sleek blue anodized finish. Sophisticated engineering and well established control surfaces ensure a creative programming experience. With the perfect blend of style and function, the Wholehog 3 console stands at the top of the Wholehog line as a leader for all types of productions. DMX Universes: Unlimited via Ethernet DMX Processors Hardware: 10 playbacks with fader play pause and flash keys, 4 encoders, 2 vertical encoders, illuminated trackball, 36 toolbar soft-keys Internal Screens: Two 12 color touchscreens with adjustable viewing angle External Monitors: 2 (can be touchscreens) Operating System: Linux Drives: 80 gig hard drive, CDRW, ZIP Desklight: 2 bi-color LED desklights Connectors: EtherCon for Hog-Net, 2 USB, 2 VGA Show Control: MIDI In, MIDI Out, SMPTE input via USB Widget Electrical: 90v-240v Auto ranging Includes: Road case, Dust cover, Visualizer Console Edition dongleWholehog III Wholehog Software FAQAre Show files compatible between consoles? All Wholehog console products are based on the same robust software. This means that show files are completely compatible between all consoles as well as Hog 3PC.ultimate lighting control console

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Full BoarRoad Hog Wholehog Software FAQWhat is Multi-User networking? ultimate power, features and expandability USB Flash drive included The Road Hog Full Boar is one of the most complete consoles in its class and it matches the refinement usually associated with more expensive consoles. With increased capabilities for output and control, it offers exceptional flexibility and technology. The proven Road Hog design, coupled with extreme power and expandability, delivers to the fullest extent with no compromises. Added to this, Road Hog Full Boar introduces direct Art-Net output which results in a perfect balance of performance, refinement and productivity. DMX Universes: 4 direct via XLR, 12 via Art-Net, expandable to 12 via USB widgets, Unlimited via Ethernet DMX Processors Hardware: 10 playbacks with fader play pause and flash keys, 4 encoders, illuminated trackball Internal Screens: Two 12 color touchscreens External Monitors: 2 (can be touchscreens) Operating System: Windows XPe Drives: 80 gig hard drive, DVDRW, USB Flash Drive Desklight: 2 LED desklights, 1 LED worklight, 2 LED marker lights Connectors: 4 XLR 5-pin, EtherCon for Hog-Net, EtherCon for Art-Net, 5 USB, 2 DVI Show Control: MIDI In, MIDI Out, MIDI Thru, SMPTE input via 3-pin XLR Electrical: 90v-240v Auto ranging Security: Kensington Slot Includes: Road case, Dust cover, Visualizer Console Edition dongle The networking functions of the Wholehog software allow multiple consoles to be connected together so several programmers can work on the same show file from multiple consoles.

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Designed from the ground up to provide superb lighting control and programming, the Road Hog is a true thoroughbred automated lighting console. Its simple and intuitive operationas well as its affordable costoffer a powerful amount of control to the user. With Flying Pig Systems renowned Wholehog software, it is now easier than ever to create, manage, edit and play back amazing lighting cues for a wide range of productions and events. DMX Universes: 4 direct via XLR Hardware: 10 playbacks with fader play pause and flash keys, 4 encoders, illuminated trackball Internal Screens: Two 12 color touchscreens External Monitor: 1 via USB to VGA adapter (can be touchscreen) Operating System: Windows XPe Drives: 80 gig hard drive, USB Flash Drive Desklight: 2 LED desklights, 1 LED worklight, 2 LED marker lights Connectors: 4 XLR 5-pin, 3 USB Show Control: SMPTE input via USB Widget Electrical: 90v-240v Auto ranging Security: Kensington Slot Includes: Dust cover USB Flash drive includedsleek, powerful and economicalRoad Hog Wholehog Software FAQHow are real world values used in programming?Fixture parameters are described and stored in real world values such as degrees of rotation, frequency of strobe, and beats per minute. Because the real world values are mapped to each fixtures unique DMX value, the software can seamlessly copy, covert, or clone fixture data among all fixture types.

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Hog 3PCAll around the world, Wholehog control software is both known and respected. Hog 3PC allows you to install the software on your own computer and build a control system to suit your needs. Furthermore, the software is a perfect companion to the Wholehog consoles as an off-line editor or acting as a remote focus unit. Delivering all you would expect and more, Hog 3PC software combines the characteristics of a full sized lighting console with superior accessories and multiple configuration options, promising a friendly and exciting programming experience. DMX Universes: Up to 8 via USB widgets, Unlimited via Ethernet DMX Processors Hardware: Programming and playback wings available Internal Screens: p to four displays can be user defined External Monitors: User defined Operating System: Windows XP Drives: User defined Connectors: User defined Show Control: MIDI via OEM devices, SMPTE input via USB Widget create your own control solution Wholehog Software FAQWhat is abstraction of fixture libraries?The Wholehog software acts as a layer between the user and the lighting hardware, converting abstract ideas of intensity, color, beam and more into specific instructions that the fixtures need. You no longer have to think in terms of DMX addresses and values.

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The Road Hog Wing concept is unparalleled and the intelligent design includes a 12 touchscreen monitor, high-quality programming or playback controls, and DMX output capabilities. The wings are equally at home next to a console or as part of a Hog 3PC system. With impressive Road Hog styling the Road Hog Programming and Playback Wings provide a unique design, impressive quality and a superb value. DMX Universes: Four with optional Super Widget Expansion Playback Wing Hardware: 10 playbacks with fader, play, pause, and flash keys, playback controls Programming Wing Hardware: Programming keys, 4 encoders, illuminated trackball Internal Screens: One 12 color touchscreen Desklight: 1 LED desklight, 2 LED marker lights Connectors: 1 USB-B, 1 VGA Electrical: 90v-240v Auto ranging Includes: Dust cover, DVI-VGA adaptor Security: Kensington Slot Available: Optional road case Wholehog Software FAQWhat are Remote Focus Capabilities? programming and playback modelsRoad Hog Wings When using a tablet PC or laptop running Hog 3PCto wirelessly access a Wholehog show file, you can program and edit all functions with mobile freedom. This allows programmers to touch up programming without sitting at the console.

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the ultimate playback surfaceHardware: 20 playbacks with fader, play, pause, and flash keys, and 20 playbacks with play, pause, and flash keys, playback controls Internal Screens: Four LCD displays Desklight: 2 bi-color LED desklights Connectors: 1-USB-B, 2 USB-A Electrical: 90v-240v Auto ranging Includes: Road case, dust cover Expansion Wingmodular programming and playback surfacesPlayback Wing Hardware: 10 playbacks with fader, play, pause, and flash keys, playback controls Programming Wing Hardware: Programming keys, 4 encoders, illuminated trackball Desklight: 2 bi-color LED desklights Connectors: 1 USB-B, 2 USB-A Electrical: 90v-240v Auto ranging Includes: Dust cover Available: 0ptional road case Mini Wings Wholehog Software FAQHow many wings can be connected? The Wholehog control software supports up to ninety physical playbacks. This mean you can connect two expansion wings, 8 Road Hog or mini playback wings, or any combination to provide an unprecedented number of faders and buttons.

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Wholehog 3-----DMX 2 widget Linux --Processor 8000 Road Hog 48 122 Windows--Full BoarUNIVERSESXPe Road Hog4------------1*---widget Windows-------XPe Hog 3PC N/A8 DMX 2 widget Windows N/A Processor XP 8000 The DMX Processor 8000 adds extraordinary DMX processing capabilities to the Wholehog line. With no compromise to Flying Pig Systems exacting standards, its longevity, quality and innovation are assured to set new standards. With an unprecedented amount of computing power, the DMX Processor 8000 manages 16 DMX universes with ease while expanding the power and reliability of the Wholehog control system as a whole. By providing both standard XLR and Art-Netoutput at an steady rate, the possibilities for lighting design are truly endless with the DMX Processor 8000. DMX Universes: 8 via 5-pin XLR, expandable to 16 via DMX Processor 8000 Expander, 16 via Art-Net Hardware: 3 menu soft-keys Internal Screens: LCD Operating System: Linux Connectors: 8 5-pin XLR, 1 EtherCon for Hog-Net, 1 EtherCon for Art-Net, 2 USB-A Electrical: 90v-240v Auto ranging via locking IEC connector Security: Kensington Slot DMX Processor 8000 Onboard DMX Universes USB DMX Universes Hog-Net DMX Networking Art-Net External Monitors MIDI SMPTE Road Hog Wings Expansion Wing Mini Wings Operating System CD Storage ZIP Storage USB Storage Road Case Included WHOLEHOG COMPARISON CHART *Requires USB to VGA accessory.

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Various Accessories for Wholehog consoles are available to suit all tastes and preferences, enabling you to personalize your console or Hog 3PC system further.! Whether expanding DMX output, building a rack mount system, or inputting timecode, these items supplement Wholehog software by providing the power you desire. AccessoriesUSB DMX WIDGETDMX Universes: One via 5-pin XLR Operating System: Windows XP Connectors: 1 5-pin XLR 1 USB-B Electrical: USB bus powered Security: Kensington SlotUSB DMX SUPER WIDGETDMX Universes: Four via 5-pin XLR Operating System: Windows XP Connectors: 4 5-pin XLR 1 USB-B Electrical: 90v-240v Auto ranging Security: Kensington SlotUSB HUBOperating System: USB 1.1 Connectors: 1 USB-B 4 USB-A Electrical: 7-13VDC Security: Kensington Slot1U WIDGET RACK ADAPTORSize: One 19" rack space high Support: five USB widget devices WHOLEHOG EXTERNAL TOUCHSCREENSize: 17.0" diagonal Active Matrix TFT Operating System: Windows XP, Linux Connectors: 1 USB-A, 1 VGA options for system expandability USB SMPTE WIDGETShow Control: SMPTE input via 3-pin XLR Operating System: Windows XP, Linux Connectors: 1 3-pin XLR, 1 USB-B Electrical: USB bus powered Security: Kensington Slot HOG 3PC CUSTOM KEYBOARDLanguages: English, German, French Construction: Laser-etched labels Connector: USB

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Advanced graphic user interface, with emphasis on clean and easy-to-use operating environment and high degree of user configurability Instant access to fixtures, groups and palettes via touch-screen displays, and familiar command line syntax Intuitive viewing and editing of all programming through powerful spreadsheet displays Unlimited control of timing, with the ability to set individual in and out delay and fade times, as well as crossfade paths, for each parameter of every fixture Multiple fanning methods aid when creating complex looks Powerful customizable real-time effects, with independent timing Personalities for all major automated fixture types in built-in library Generic Library model provides consistent control interface for all fixtures, regardless of manufacturer or type Change Fixture function allows exchange of fixture types even after a show has been programmed Quick function to add new fixtures that replicate existing programming Automated Mark Cue and Move In Black functionality Gel Picker provides quick access to common color mixing values Grouping and Buddying features allow complex fixture selections through quick toolbar functions Clock and calendar triggering Learn Timing feature for quick programming with timecode Fully customizable playback controls on the console, and optionally on multiple playback wings Cuelists and Scenes can be executed directly from the touchscreens for extra flexibility Inhibitive intensity masters can be defined for any group of fixtures Chases have fully adjustable direction, crossfade percentage, and rate Tap Sync feature for chases User definable wheelsets allow customization of parameter layouts Up to 8192 multi-parameter fixtures per show Online help system, including onscreen reference manual. Available in multiple languages Connectivity with many visualizers via Ethernet Wired and wireless networking ability with multiple Wholehog console systems Remote Focus capabilities when networked with a tablet PC running Hog 3PC software Unlimited DMX output via Ethernet output device Specifications subject to change without notice. Certain specifications may be the result of future software releases. For a complete list of the issued patents and patents pending contact High End Systems. 2008 High End Systems, Inc.Wholehog Software Powerful software features available in all products Barco Lighting Systems, Inc. Media & Entertainment Division 2105 Gracy Farms Lane, Austin,TX 78758 Tel. 512 836 2242 Fax 512 837 5290 email: sales@highend.com Barco nv Media & Entertainment Division Noordlaan 5, 8520 Kuurne Belgium Tel. +32 56 36 80 47 Fax +32 56 36 83 86 email: sales.events@barco.comwww.barco.com www.highend.com Gel and Color Picker Edit Fixtures AutoBackup Fan toolbar Slot toolbar Select toolbar

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APPENDIX I PUBLICITY DOCUMENTS

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UF takes own spin on hit Chicago' Photo by Shari Thompson Posted: Wednesday, November 9, 2011 8:19 pm | Updated: 9:51 pm, Wed Nov 9, 2011. Erica A. Hernandez, Avenue Writer The prohibition era will razzle dazzle the Constans Theatre's audience in the upcoming production of the beloved musical "Chicago." The show originated on Broadway long before the 2002 film release. Produced by the UF School of Theatre and Dance, the show will feature performances by undergraduate and graduate fine arts students. As I interviewed the spirited cast of "Chicago," I realized the group would more aptly be referred to as a family. During the rehearsal of the quintessential "Chicago" song, "The Cell Block Tango," the family came alive. Director Tony Mata gave the cue. Seco nds after, six young women who like to call themselves "Tony's Angels" dragged simple chairs across the stage. As the piano started, Mata called, "Hold." Unfazed, the performers sat in their seats and began to chitchat. One of the actresses politely excuse d herself to the restroom, and as she walked away, she slid and fell on the freshly cleaned stage. Laughter erupted from all who witnessed the fumble. "Quiet on stage please!" stage manager Janiel Myers, a 19 year old theater sophomore, barked from the con trol booth. That sparked Mata's interest. "What happened?" he exclaimed. Myers and Mata are definitely the behind the scenes parents in this family, and the actors and actresses are the bantering brood of brothers and sisters.

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Musical theater senior Katrin a Asmar, who plays Velma Kelly in the show, said she is excited about playing opposite her friend Taylor Rector, the musical theater senior who plays Roxie Hart. "She is, like, my best friend, and we get to be the dynamic duo at the end. It was just really lucky," As they awaited the start of rehearsal, Rector sat on Asmar's lap, recounting the details of her day. Rector questioned Asmar on her eating habits, making sure she was ready for what would be an exhausting rehearsal. The entire cast is close. They share an intense camaraderie and comfort that one rarely sees onstage but plays a major role in how the actors perform. "We have been working a lot on delving into the relationships throughout the show and even how the ensemble can react with each other a nd with me," Asmar said of how the cast relates. The cue to cue rehearsal was slow moving which Myers forewarned me about but promising. The singing brought chills to my arms, and the actors exuded confidence and talent. "Getting all the elements toget her and getting on the stage is so much more exciting and exhilarating. You are playing for such a different medium than just a dance studio," Rector said of finally rehearsing in the theater. Mata prides himself on his dedicated cast, and he holds them to their commitment onstage and off. "This is a very large show, and a lot of work has gone into this. Our set, our costumes and our lighting will be very different, all one of a kind. People like to copy Broadway, but I think that's like cheating," Mata sai d. Appropriately, this production cannot and should not be compared to the Broadway or Hollywood version. This is the Mata version. "Chicago" will run Nov. 11 to 12 and Nov. 15 to 18 at 7:30 p.m. with special 2 p.m. shows held on Nov. 13 and Nov. 20. Ticke ts can be purchased at the University Box Office or online through ticketmaster.com Mata urges those who wish to see the play to buy their tickets early and said that they always have a waiting list for the second week of shows. "Get your tickets now," he said. "Certain shows will sell out quickly."

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APPENDIX J PRODUCTION PHOTOGRAPHS

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Figure J-1. All That Jazz. Photo courtesy of Shari Thompson.

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Figure J-2. All That Jazz. Photo courtesy of Shari Thompson.

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Figure J-3. Amos Hart and Sergeant Fogarty. Photo courtesy of T.F. Gunthrup

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Figure J-4. The Cell Block Tango. Photo courtesy of Shari Thompson

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Figure J-5. The Cell Block Tango. Photo courtesy of Shari Thompson.

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Figure J-6. When Youre Good To Mama. Photo courtesy of Shari Thompson.

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Figure J-7. A Tap Dance. Photo courtesy of T.F. Gunthrup.

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Figure J-8. All I Care About. Photo courtesy of Shari Thompson.

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Figure J-9. We Both Reached For The Gun. Photo courtesy of Jovon Eberhart.

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Figure J-10. Roxie. Photo courtesy of Shari Thompson.

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Figure J-11. I Cant Do It Alone. Photo courtesy of Jovon Eberhart.

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Figure J-12. Chicago After Midnight. Photo courtesy of Shari Thompson.

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Figure J-13. Go to Hell Kitty meets the press. Photo courtesy of Jovon Eberhart.

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Figure J-14. Velma sings the final notes of Act One. Photo courtesy of T.F. Gunthrup.

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Figure J-15. I Know A Girl. Photo courtesy of Jovon Eberhart.

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Figure J-16. Me and My Baby. Photo courtesy of Jovon Eberhart.

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Figure J-17. Mr. Cellophane. Photo courtesy of T.F. Gunthrup.

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Figure J-18. Mr. Cellophane. Photo courtesy of T.F. Gunthrup.

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Figure J-19. The Poker Game. Photo courtesy of Jovon Eberhart.

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Figure J-20. The Hungarian Rope Trick. Photo courtesy of Jovon Eberhart.

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Figure J-21. When Velma Takes the Stand. Photo courtesy of Jovon Eberhart.

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Figure J-22. Razzle Dazzle. Photo courtesy of Shari Thompson.

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Figure J-23. The Courtroom. Photo courtesy of Jovon Eberhart.

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Figure J-24. Class. Photo courtesy of T.F. Gunthrup.

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Figure J-25. Velma Kelly and Roxie Hart in the Hot Honey Rag. Photo courtesy of Shari Thompson.

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Figure J-26. Roxie Hart and Velma Kelly in their final pose in Chicago. Photo courtesy of Shari Thompson.

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APPENDIX K HOT HONEY RAG CUE SEQUENCE

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Object K-1. Hot Honey Rag Cue Sequence Video by Michael J. McShane

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LIST OF REFERENCES All That Jazz. Screenplay by Robert Alan Aurthur and Bob Fosse. Dir. Bob Fosse. Perf. Roy Scheider, Jessica Lange, Ann Reinking, Ben Vereen, Cliff Gorman. Twentieth Century Fox, 1979. DVD. Blue Velvet. Screenplay by David Lynch. Dir. David Lynch. Perf. Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Dean Stockwell. De Laurentiis Entertainment Group, 1986. DVD. Cabaret. Screenplay by Joe Masteroff, John Van Druten, Christopher Isherwood and Jay Preston Allen. Dir. Bob Fosse. Perf. Liza Minelli, Joel Grey, Michael York. Allied Artists Pictures. 1972. DVD. Chicago. Screenplay by Bill Condon, Bob Fosse, Fred Ebb and Maurine Dallas Watkins. Dir. Rob Marshall. Perf. Rene Zellweger, Catherine Zeta-Jones, Richard Gere, John C. Reilly. Miramax Films, 2002. DVD. Dali, Salvador. In Voluptate Mors, New York, 1951. http://philippehalsman.com/. Web. 15 April 2014. Death to Smoochy. Screenplay by Adam Resnick. Dir. Danny DeVito. Perf. Robin Williams, Edward Norton, Catherine Keener. Warner Brothers, 2002. DVD. Ebb, Fred, Bob Fosse, John Kander, and Maurine Watkins. Chicago: A Musical Vaudeville. New York: Samuel French, 1976. Print. Gottfried, Martin. All His Jazz: The Life and Death of Bob Fosse. Cambridge, MA: Da Capo, 2003. Print. Grubb, Kevin Boyd. Razzle Dazzle: The Life and Work of Bob Fosse. New York: St. Martin's, 1989. Print.

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Lenny. Screenplay by Julian Barry. Dir. Bob Fosse. Perf. Dustin Hoffman, Valerie Perrine, Jan Miner. United Artists, 1974. DVD. Leve, James. Kander and Ebb. New Haven: Yale UP, 2009. Print. The Man Who Wasnt There. Screenplay by Joel and Ethan Coen. Dirs. Joel and Ethan Coen. Perf. Billy Bob Thornton, Frances McDormand, Michael Badalucco, Tony Shalhoub. Gramercy Pictures, 2001. DVD. McWaters, Debra. The Fosse Style. Gainesville: University Press of Florida, 2008. Print. Picasso, Pablo. The Blind Mans Meal. Metropolitan Museum of Art. New York. http://www.metmuseum.org/collections/search-the-collections/488596. Web. 15 April 2014. Picasso, Pablo. The Old Guitarist. The Art Institute of Chicago, Chicago. http://www.artic.edu/aic/collections/artwork/28067. Web. 15 April 2014. Picasso, Pablo. The Poet Ceret. Peggy Guggenheim Collection, Venice. http://www.artchive.com/artchive/P/picasso/poet1.jpg.html. Web. 15 April 2014.

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BIOGRAPHICAL SKETCH Mike McShane is a designer, director, filmmaker and actor. He was born in Gainesville, Florida on August 26, 1986. He received his Associate of Arts in Performance Theatre from Santa Fe College (Gainesville, Florida) in 2004 as part of the High School Dual Enrollment Program. He graduated cum laude from the University of Florida with a Bachelor of Arts in Film Studies. His films Its All Good!, The Votive Pit, and You Are Not Frank Sinatra have screened internationally. His film and theatrical production company is Son of Sham (www.sonofsham.com).