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Theatrical lighting design for the production of Spring Awakening

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Title:
Theatrical lighting design for the production of Spring Awakening
Creator:
Alderson, Tiana ( author )
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Language:
English
Physical Description:
1 online resource (402 pages) : illustrations ;

Subjects

Subjects / Keywords:
Theatre thesis, M.F.A
Dissertations, Academic -- Theatre and Dance -- UF
Genre:
Project in Lieu of Thesis
Electronic Thesis or Dissertation

Notes

Abstract:
This document reviews the lighting design process from concept and pre-production through the final realization of the musical Spring Awakening, produced by the University of Florida School of Theatre and Dance. The process began in the spring of 2016 with design meetings between the costume designer, Sam Kennedy, scenic designer, Colton Spurlock, lighting designer, Tiana Alderson, and director, Tony Mata. In addition to these collective meetings, each designer had individual meetings with the director. As the lighting designer for this production, my process included the development of light plots, cue score, follow-spot innovation, and all documentation relating as such. Realization of the production included overseeing the crews for the hang, focus, and implementation of all lighting elements, in addition to many direct interactions throughout the rehearsal and technical process. The entire process culminated in several performances held in the Constans Theatre, in the fall of 2016.
Bibliography:
Includes bibliographical references.
General Note:
Includes vita.
Statement of Responsibility:
by Tiana Alderson.

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Source Institution:
University of Florida
Rights Management:
Copyright Author. 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.
Resource Identifier:
035858661 ( ALEPH )
Classification:
LD1780 2017 ( lcc )

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PAGE 1

THEATRICAL LIGHTING DESIGN FOR THE PRODUCTION OF SPRING AWAKENING BY TIANA ALDERSON SUPERVISORY COMMITTEE: PROFESSOR STAN KAYE, CHAIR PROFESSOR STACEY GALLOWAY, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2017

PAGE 2

2 2017 Tiana Alderson

PAGE 3

TO THE PHOENIX THAT ROSE UP AG INST ALL ODDS

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4 ACKNOWLEDGMENTS This project, this journey, would not have been possible without a number of people who have always believed in and supported me; without them, I would never have been able to get to where I am. A special thank you to my wonderful parents, John and Sheila Alderson, and to my brother, Bryce Ald erson, who have always believed in me. Additionally, I would never have gotten this far without the encouragement of Steve Pliska and Zachary Harless, my first two mentors; and to Justin Boord-Balash for his help during this show. I must also thank the incredible group of lighting graduates who helped me along the way, and specifically my amazing associate, Dalton Hamilton, who never let me quit, and to my advisory mentors, Todd Bedell, Matthew Taylor, and Stan Kaye. Also to Daniel Hopper for all his encouragement through this project and help in formulating this document. Lastly, to Daniel Cruz for reminding me what it means to let go and just live.

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5 TABLE OF CONTENTS Page !"#$%&'()*+($,-. /////////////////////////////////////////////////////////////////////////////////////////////////////////////.0! ,!1'(.%2."%$,($,-. //////////////////////////////////////////////////////////////////////////////////////////////////////////////.3! 1-,4!",. ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////. 5! 6$,4%)7",6%$. //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////.8! 9'!:.-:$%9-6-. ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////.;!%<(4<6(& ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////.;!!",.= ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////.;!!",.> /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////. ==! 94%)7",6%$.?6-,%4:. /////////////////////////////////////////////////////////////////////////////////////////////////////////. =@! 4(-(!4"?. ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////. =0! ,?(.)(-6*$.94%"(--. ///////////////////////////////////////////////////////////////////////////////////////////////////////////. =A!)(-6*$.+((,6$*. ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// =A!)(-6*$."?%6"(. //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// >=! ,?(."4(!,6%$.%2.,?(.94%)7",6%$. ////////////////////////////////////////////////////////////////////////////////////. >0!17)*(,.!''%"!,6%$-.!$).%,?(4."%$"(4$. /////////////////////////////////////////////////////////////////////////////. >0!7$2%4-(($.94%1'(+-.!$).,?(64.-%'7,6%$-. ////////////////////////////////////////////////////////////////////////////. >3! %,?(4.94%1'(+-.!$).,?(64.-%'7,6%$. ///////////////////////////////////////////////////////////////////////////////////// >8! ,("?$6"!'.94%"(--. /////////////////////////////////////////////////////////////////////////////////////////////////////////////. @=!94( B ,("?.&((# ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// @=!,("?6$6"!'.4(?(!4-!'. ///////////////////////////////////////////////////////////////////////////////////////////////////////////////. @=!)4(--.4(?(!4-!'. /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// @>!%9($6$* ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////. @@! "%$"'7-6%$. ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////. @0!94%)7",6%$."%++($,!4: ////////////////////////////////////////////////////////////////////////////////////////////////////////. @0!-('2.(!

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6 "?!$$('.?%%#79. ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ==@!6$-,47+($,.-"?()7'( //////////////////////////////////////////////////////////////////////////////////////////////////////////////. =>5!"%'%4.-"?()7'( //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// =3A!*%1%.-"?()7'( ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// =53!"?(!,.-?((,. /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// =5;! !99($)6C.6.D.94%)7",6%$.(F769+($,. /////////////////////////////////////////////////////////////////////////////. =80! !99($)6C.G.D.971'6"6,:.)%"7+($,-. /////////////////////////////////////////////////////////////////////////////////. !99($)6C.#.D.!))6,6%$!'.9!9(4&%4#. ////////////////////////////////////////////////////////////////////////////. 16%*4!9?6"!'.-#(,"?. ///////////////////////////////////////////////////////////////////////////////////////////////////////. E!

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7 ABSTRACT Summary of Project in Lieu of Thesis Presented to the Graduate School of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts THE THEATRICAL LIGHTING DESIGN FOR THE PRODUCTION OF SPRING AWAKENING By Tiana Alderson April 2017 Chair: Stan Kaye Member: Stacey Galloway Major: Theatre This document reviews the lighting design process from concept and pre production through the final realization of the musical Spring Awakening, produced by the University of Florida School of Theatre and Dance. The process began in the spring of 2016 with design meetings between the costume designer, Sam Kennedy, scenic designer, Colton Spurlock, lighting designer, Tiana Alderson, and director, Tony Mata. In addition to these collective meetings, each designer had individual meetings with the director. As the lighting designer for this production, my process included the development of light plots, cue score, follow spot innovation, and all documentation relating as such. Realization of the production included overseeing the crews for the hang, focus, and implementation of all lighting elements, in addition to many direct interactions throughout the rehearsal and technical process. The entire process culminated in several performances held in the Constans Theatre, in the f all of 2016.

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8 CHAPTER 1 INTRODUCTION In the f all of 2016, the University of Florida School of Theatre and Dance produced Spring Awakening with book and lyrics by Steven Sater and music by Duncan Sheik. The production opened Friday, October 28, 2016, to a full house. Spring Awakening was assigned as my project in lieu of thesis as partial fulfillment of my Master of Fine Arts degree in Theatre. I served as the Lighting Designer for the production with scenic design by fellow graduate student Colton Spurlock and costume design by fellow undergraduate student Sam Kennedy. This design served as her senior project for her BFA. Professor Tony Mata served as Director of the production with Professor Tony Offerle as the Music Director and former visiting Professor Lisa Clarson as the Choreographer. Fellow undergraduate student Matthew Faux served as stage manager. The Lighting Designer was excited to work on this production because it had always held a special place for her. The designer had always had very fond memories o f the musicals overall message and rock n roll style since working as part of a lighting design team on a previous presentation of this production. Previously, she served as the Assistant Lighting Designer; therefore, it was exciting to tackle this production as the Lighting D esigner. In addition, the design and stage management team had previously collaborated on another production together and having these pre-existing working relationships helped to create a cohesive design team.

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9 CHAPTER 2 PLAY SYNOPSIS OVERVIEW The play is about the messiness and complexity of youth coming of age. Set in late 19th century Germany, Spring Awakening tells the story of a group of adolescents struggle with their inner and outer tumult of sexuality. All of the young adults have to face the realities of the world and discern how they are going to survive in an authority dominated and religiously suppressive culture. From the first scene of the play, Wendelas mother talks to her about how she is no longer a little girl and must act as a young woman. Thus, she is introducing her into the confines of society and teaching her to know her place. However, Wendela quickly points out how although she is becoming a woman, she does not even known the simplest thing s such as where babies come from. All of the young adults in the production are being funneled into the machine, that is society, with little information about life and about the world. They are not supposed to ask about or question authority, as Thea says, How will we know what to do if our parents do not tell us? Melchior, the main protagonist, is one of the few willing to stand up to the order of the day and probe the deeper questions society deems off limits or unsuitable for young minds. He disregards societal norms and rules and seeks to discover the truth about the world around him. ACT 1 At the top of the show, the overture begins and young Wendela is seen exploring her developing feminine body as she puts on a schoolgirl dress. She is on the cusp of becoming a woman, a fact her mother reminds her of as she tells her that Wendelas sister has had another child. Wendela expresses her excitement and desire to see the new little one, but declares that she still has no idea where babies come from. Alt hough Wendela is a young woman, her mother

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10 cannot bring herself to tell her. Instead, she says a woman must love her husband, and only her husband, with her whole heart and that is everything. At school, the teenage boys are in their Latin lesson when Mortiz Stiefel incorrectly quotes the next passage. Melchior tries to step in when the headmaster reprimands Morit z, and through this exchange, one sees how Melchior is questioning the establishment. After class is over, it is discovered that Moritz is dealing with the changes of puberty and Melchior offers to help Moritz understand what he is experiencing. After school, the four girls, Wendela, Martha, Thea, and Anna, all talk and dream about their futures. Moritz comes to speak with Melchior regarding the document Melchior gave him. It has helped explained many of the sexual impulses he has, but it has made his dreams even worse. Embarrassed, Moritz runs off. The entire cast then expresses their desire for physical intimacy with the song Touch Me. Wendela is then seen out picking flowers for her mother when she stumbles upon Melchior. They talk for a while about their old friendship and how they use to do activities together; each hint at their physical desires, but neither act upon them. Meanwhile, Moritz has snuck into the headmasters office to check his grade and discovers he has passed his midterms. The headmasters look on from afar and discuss how not everyone can pass the final exams. The four girls are out in the woods when Martha reveals that her father physically and sexually abuses her. Her friends are horrified but Martha makes them promise to say nothing, terrified that she will end up like their other friend Isle, who was also abused by her parents and thrown out of her house, and who is now homeless and associates with vagabonds, artists, and other societal outcasts. This news deeply troubles Wendela and when she encounters Melchior later in the woods, she tells him what she knows. At first, Melchior refuses to believe her, saying

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11 such things only happen in books. Wendela is persistent though and even ask Melchior to beat her so she might know what Martha goes through. Melchior finally consents and ends up beating her harshly. In his own shame, he runs off leaving Wendela to sob alone. Moritz has to face his father and tell him he did not pass the final exams. His father loses his composure and can only think of what a disgrace this will be for himself and Mortizs mother. Mortiz fearing that he has nothing l eft and writes a letter to Melchiors mother asking for money so he might escape to America. Melchiors mother expresses her condolences that his exams went poorly but says she cannot provide the money he reques ts and that he should take heart. All is not lost and suicide is never the answer. Later on, Wendela finds Melchior in his hayloft. They are both ashamed of their previous actions and each apologizes. Soon they begin to kiss and their desire for more builds. Wendela protests at first, but then their desires overtake both of them. ACT 2 Act 2 begins with Wendela and Melchior still together in the barn in conjunction with a church service where the Father gives a sermon about the body and soul straying from the instruction of the clergy. Wendela and Melchior discuss what has just transpired between them, and the cast sings Guilty Ones, a song about how they have incurred guilt by participating in the sensuality forbidden by the church. Moritz appears in the wood as he vacillates between committing suicide or not. Isle happens upon him and tries to convince him to walk with her a little way. In the end, Isle leaves and Moritz, feeling alone and believing he has nowhere to turn, pulls the trigger. At the funeral, everyone comes to pay their respects and lay flowers on Moritzs grave, while Moritzs father is overcome with grief. At the school, the headmasters realize they have a

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12 problem on their hands with Moritz 's suicide. Moritz 's father handed over the explicit documents he fou nd in Moritz's satchel. The headmasters believe the documents can be blamed for his untimely demise. They bring Melchior in to discern if the documents came from him. In the evening, Ernst and Hanschen, two other schoolboys, meet and discuss their dream s for the future and Moritz's death. Their romantic feelings for one another are revealed and it culminates in a kiss between them. Wendela has been experiencing morning sickness but is unaware as to what the cause of her symptoms is. The doctor comes disce rns what Wendela's symptoms are and tells her mother than Wendela is with child. Her mother is furious with her and demands the name of the boy responsible. Upon learning that the father is Melchior, she sends a letter to his parents informing th em of what has transpired between them. After learning of Melchior's indiscretion, his parents decide to send him to a reformatory. While at th e reformatory, Melchior learns of Wendela's pregnancy and works to escape and get back to her. Fearing what would happen to Wendela 's reputation if anyone finds out, her mother takes her to have an abortion. Melchior returns at night to a graveyard hoping Isle has received his letter and will help him reunite with Wendela. While he waits, he comes upon hi s friend Moritz's grave and then discerns a fresh grave nearby that belongs to his beloved Wendela. The show then concludes with the song "Purple Summer" a song of hope and a message that life will not always be as it has been.

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13 CHAPTER 3 PRODUCTION HISTORY Spring Awakening is a rock musical based on the play from 1891, Spring Awakening by Frank Wedekind. Its conception began in the late 1990s, with various workshops, concerts, and rewrites, finally culminating in its Off -Broadway debut at the Atlantic Theatre Company on May 19, 2006. It then moved to the Eugene ONeil Theatre and previewed on November 16, 2006. It would then open just under a month later on December 10 and would run for a total of 859 performances, finally closing on January 18, 2009. It would collect 8 Tonys, including best musical, along with 4 Drama Desk Awards and a Grammy for the original cast album. In 2014, the Deaf West Theatre company in Los Angeles revived it. It would then transfer to the Brooks Atkinson Theatre in New York for a limited run; previewing September 8, 2015, and opening September 27, 2015, then closing January 24, 2016, and carrying with it three Tony Awards. What made this revival revolutionary was its diverse cast comprised of both deaf and hearing cast along with the first wheelchair -bound Broadway performer. Additionally, it was the first performance to utilize interpreters for deaf -blind theatregoers.

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14 CHAPTER 4 RESEARCH Spring Awakening finds its roots in Frank Wedekinds play Spring Awakening. The production is rooted in the traditions and societal structure of 1891, with the underlying generational unrest between the adults and teens cleverly brought into the world of the play through the music style of rock n roll. The director, Professor Mata, wished to create an immersive environment with the adults being ever -vigilant watchers over the world the teens occupy. Ample research was focused on incorporating non -traditional lighting elements; ranging from traditional incandescent sources to compact fluorescents, neon tubing, and LEDs. Exploration into the use of these elements within the world of the production was discussed. The director wished that these elements not be hidden, but play an active role within the world of the play. The lighting mentor at the time, Matt Taylor, encouraged the Lighting Designer to look at other theatrical groups who have incorporated this same idea into productions of their own. The Lighting Designer showed these ideas to Colton Spurlock and worked with him on how these non-traditional light elements could work seamlessly into the production aesthetics. This production also falls outside the scope of traditional musical theatre with its use of rock n roll. The world of the play had to be transformed from the world of the late 1800s into a rock n roll environment and then restore back to that late 19th century environment. In order to do so, the designer had to go outside traditional research and look at another style of design, that of contemporary concert lighting designs. A number of different modern music arti sts such as Bruno Mars, Lady Gaga, Maroon 5, The Weekend, and their live performances were studied to see how other designers have brought to life striking images in those theatrical venues and how

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15 different modern day theatrical fixtures might b e used to create similar images and to capture the rock n roll essence evoked by the musical scores of the production.

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16 CHAPTER 5 THE DESIGN PROCESS At the University of Florida, the design process for all productions begins the semester before the production is produced. It provides the opportunity for the faculty director or choreographer, designers, and design mentors to sit down and discuss, research, explore, and collaborate on a cohesive design that will serve the life of the production and the overall artistic intensions of the producing entity, the School of Theatre and Dance. This process provides the opportunity for all ideas to be presented and negotiated, while a llowing p otential issues or set backs to be addressed and solutions proposed. Since my time at the University, this process has undergone a continual evolution, with the primary objective being a complete design that is mostly unalterable after the final design/pre sentation meeting. The final design m eeting was extremely successful and Professor Mata loved the designs presented and signed off on the completed designs. After the final meeting Mr. Herring, the technical director, reviewed the proposed scenic design and informed Mr. Spurlock that slight scenic alterations would need to be made due to budgetary constraints. Mr. Spurlock informed Professor Mata, and the next week Professor Mata, scenic mentor, Professor Cuipe, Mr. Herring, and Mr. Spurlock were able t o meet and make revisions to the set to ensure budgetary requirements while maintaining the overall artistic intentions the entire design team had been striving after for the previous several months. DESIGN MEETINGS The first design meeting was held on February 10, 2016, with each of the designers having been informed a week or two prior of their design appointment. Everyone was present and the production manager, Jenny Go e lz, went over a few details such as significant dates,

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17 casting, budgets, the desi red orchestra placement, and sound. Ms. Go e lz then turned the meeting over to Professor Mata. He began by providing some background information on the musical and his desire to direct this particular show. He presented the design team with rough ideas a bout the concepts he was attempting to evoke. One of these concepts being the miscommunication and overall disconnect between the adults and the young adults. He wanted to convey this sense of the adults always looming in the background. They are always trying to i mpend on the world of the youth, a world that has not yet succumb to the corruption of the adults but is still holding onto its youth and innocence. The innocence of the youth is best seen through the character Wendela. Professor Mata hop ed to capitalize on this at the beginning of the show, during the overture, by showing her nude and exploring, quite innocently, her maturing body. Yet very quickly, he wanted to depict the loss of innocence and the struggles that arise with coming of age Visually, he liked the idea of an abstract tree or a child's playground surrounded by an industrial landscape, which he thought might give the feeling that society was encroaching upon childhood. As for artistic style, he stated that he wanted to go to wards a more Brechtian style. From the beginning, he wanted everything to be reve a led and happen onstage including costume changes. For instance, any furniture being used needed to be a part of the overall aesthetic from the beginning, and it needed to b e versatile enough so that it could be taken and reconfigured to create something else. Likewise, l ights were to be a part of the set and not hidden. In order for this production to have the impact he desired he needed for there to b e an intimacy with t he audience so that the audience could see the young adults as the victims. One of the key ideas that sprang forth is that simplicity is a harder choice because then everything has a meaning.

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18 Ms. Goelz then asked for each of the designers to present the research they had prepared for the meeting. Each designers research came as a result of their reading of the script and discussion with their mentor prior to our collective meeting. Directly following the meeting, the scenic and lighting designers had a private meeting with Professor Mata to further ascertain the specific concepts he was hoping to evoke. One of these specifics concerns was how to create two different spaces within the one overall space of the stage. He wanted a world for the adults to inhabit and a world for the young adults to occupy. Mr. Spurlock also mentioned the feeling of abandonment and the look and feel of the Cold War era. It would encapsulate this bigger idea that the whole for these characters is one big system that e veryone is caught in and that their feeling of abandonment is well situated when placed within a cold and harsh environment. Professor Mata spoke in regards to the lighting design, saying that he wanted to go towards the original Broadway production, which incorporated many different fixtures, traditional and non-traditional, within the set. He also liked the research the lighting designer had presented about the art movement Futurism and how it expressed the time period and what the society as a whole was going through. In addition, he liked one of the pictures presented in the research, which depicted an object changing in shape and size depicting a once whole world crumbling, as it got closer to the source of light. We also discussed specific moments and songs within the production and the emotion he hoped would be evoked. Our second design meeting was scheduled for March 7, 2016, but upon everyone convening, it was canceled because Mr. Mata had forgotten about the meeting and had already left the campus and was not available to return and attend. It was not rescheduled, and each of the designers tried to meet with the director individually before the third design meeting.

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19 By the time of our third design meeting, March 30 2016, the concept for the s et had dramatically changed from the ideas previously discussed. It changed from being an abandoned playground surrounded by graffitied buildings to an elevated playing space surrounded by four large structures, two of which served as watch towers for the adults. The merry go round that served as a focus point in the design had become just a turntable with a slight fence on it. There was the addition of a large scenic drop which would help create a forced perspective, and directly behind that would be t he cyclorama and a hidden platform to allow the dead spirits of Moritz and Wendela t o look in from the great beyond at the end of the play. The band would also be upstage left underneath one of the platforms. The lighting designer discussed with both Pr ofessor Mata and Mr. Spurlock about the need for boo ms to be placed in the calipers and that the fog machine and lights needed to be placed within the grave for Moritz's funeral scene. There was also a discussion concerning how the footlights might be incorporated within t he set design to make the fixtures look as if they fit within the context of the world on stage. Ms. Kennedy presented her general looks for each of the characters and ensemble members. This led to a discussion about the lack of budget for the costume an d hair designs if the designs were to progress as currently designed. Ms. Kennedy had incorporated many of the requests Professor Mata had requested, but unfortunately these design requests pushed the costume budget extensively over the allotted amount. It was agreed upon that a separate meeting would be held to determine the next step for the costume design. The final design meeting was held on May 13, 2016. Mr. Spurlock presented his final color model and scenic drafting plates. It was noted that th e set footprint had moved 4ft. d ownstage since the last meeting and the placement of the grave had been solidified. Because the turntable was an important element to the design it was agreed upon where the offstage

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20 execution point would be. There was a brief discussion that some of the paint treatments on the model would be slightly altered when executed, such as the color of the floor. It was also discussed that within the next week final costing for the set would be determined and Mr. Spurlock and P rofessor Mata would meet if changes needed to be made in order to fit within the budget allocated. Ms. Kennedy presented her final costume renderings for each character and the general ensemble outfits. The silhouette of each character was fixed although a final color palette for each character would be d etermined once casting occurred and measurements and fittings could be scheduled. Many of the pieces designed needed to be purchased, and therefore would be subject to current market availability, as thes e items would be purchased about four months from now. She, along with both costume mentors, had met with Professor Mata between design meetings and had achieved a plan everyone was satisfied with that would ensure the costume design would remain within t he allocated budget. The lighting designer discussed that she and Mr. Spurlock had met about the placement of booms in the calipers and that there would be enough room for the actors to travel between the booms and the set. The implementation of practic als throughout the set would be addressed in the f all semester; al though it was discussed that grain of wheat lights would be strung through the truss structures over the stage. The lighting for the structures Mr. Spurlock created for the adults would be li t to give the feeling of the adults being in watchtowers. Lastly, it was mentioned that fractured light (fixtures with gobos) would be used to help give articulation to Wendela's figure at the top of the show, when she appears nude with her back facing th e audience.

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21 DESIGN CHOICES Two things were extremely important to the lighting designer for this production. The first being the follow spot location, and the second being the number of moving light fixtures that could be acquired to give the production a rock n' roll feel, while staying within the lighting budget. Based on the current architecture of the Constans Theatre, the follow spots have to be located on the very e xtremes of the theatre. This means that when actors are illuminated by a follow spot it comes from an extreme angle and creates a lot of excessive light spill on the stage. Given the nature of the show, it was important that the characters be picked up from straight on rather than the extreme sides of the theatre. It would also help to minimize the amount of extra light spilling beyond the location of the actor and onto significant portions of the set. In October of 2015, the Lighting Designer was lu cky to be an Electronic Theatre Controls (ETC) scholarship recipient which allowed her to attend Live Design International (LDI) in Las Vegas. LDI is a conference held every year for professionals, educators, and students in the industry. ETC, a lightin g manufacturer, has created a scholarship program where seven students are selected to fly and attend the conference for free that year. They are also provided the opportunity to meet with other professionals in the industry and create connections that wi ll hopefully serve them in the future. While on the expo floor she saw Production Resource Group's (PRG) new product, the ground control follow spot. It was revolutionary because it created a way to separate the operator from the light, thus allowing a fixture to be placed where it was needed not just where both the fixture and operator could fit. It allows the lighting designer to place the fixture in any location they need because the unit used to control the fixture can be placed anywhere. When ass igned this production, it was immediately evident that this production needed this unit.

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22 The Lighting Designer spoke with the Associate Lighting Designer, Dalton Hamilton, soon after the first design meeting and expressed her desire to utilize this unit if it could be obtained within the lighting budget given. Over the summer, Mr. Hamilton worked at a theatre that tried to rent these units from PRG for their own summer productions, but could not because of their price point. The lighting supervisor, Mik e Billings along with Mr. Hamilton and Brian Staton, a lighting intern, ended up developing a similar version of this unit and used it on two different productions that summer. One of these productions was even lit by a Tony Award winning Broadway lighti ng designer. Therefore, Mr. Hamilton knowing the lighting designer's interest in PRGs' units informed her that Mr. Billings would be willing to rent the units to the university for the production at a reasonable price. In view of the fact that Mr. Hamil t on was one of the developers of the unit, his opinion was sought about which moving light fixture should be used with the uni t, and his suggestion was a Clay Paky Sharpy Wash 330 fixture. These units from Mike Billings Lighting (MBL) are designed to provide the operator with intensity and iris control of the fixture, while color parameters are controlled within the console. Because of the complexity of this show, the lighting designer asked Mr. Hamilton if he could bring in his personal ETC Ion conso le for the Tech Process so that the two Assistant Lighting Designers, Duncan Singleton and Joseph Hodge, could utilize it for the follow spot design. By using this system, it provided the Assistants the ability to color mix within the fixture for each character in each moment. For the first time follow spot design was able to adjust for skin color, costume, set, and the rest of the lighting for the scene for each character. Traditionally, a fol low spot has five slots for gel s ; and from the gels chosen for a production a designer must select the best gel for each cast member who is being lit. Inevitably, one or more

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23 performers will not look as flattering in that color. With this unit, the lighting designer finally has the control over an element of t he design that until now has only been dreamed about. In the s pring, the designer spoke with her mentor at the time, Matt Taylor, extensively about having a larger lighting budget because the lighting department only has f our older moving light fixtures and all of the LED conventional fixtures had already been allocated to light the BFA dance showcase. Because Mr. Mata wanted a rock musical that looked similar to most Broadway rock musicals, the designer spoke with Mr. Taylor about budget concerns. The designer spoke of her concerns about achieving the look Mr. Mata desired with the lack of equipment in the department and the limited funds available to her. After speaking with Mr. Taylor at length the designer offered to put together a written proposa l to submit to the Chair of the department to see if additional funds could be secured. In the end, Mr. Taylor and Mr. Bedell assured the designer that they would do all they could to secure any additional funds so the designer could have as many resource s as possible to pull from. To help guide the design in an overall direction, the Lighting Designer researched images that she believed would help inform the look of each song throughout the show. Most of the images selected had vibrant colors and made b old statements. Overall, the design goal was to enhance the truth the characters were disclosing through their songs. Mr. Mata and the Lighting Designer were able to meet a few times to look at and discuss some of these images and he seemed to resonate w ith the direction the Lighting Designer was going.

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24 CHAPTER 6 THE CREATION OF THE PRODUCTION BUDGET ALLOCATIONS AND OTHER CONCERNS When the lighting desi gner returned to school in the f all, she discovered that the lighting budget might be s tretched by a few hundred dollars more to cover expenditures, but it was nowhere near the increased amount hoped. Because of this, the lighting designer realized she would need a moving light fixture that would provide as much versatility as possible, and s everal of these lights would need to be secured within the budget allocated. Knowing Mr. Hamilton had a previous working relationship with a few lighting rental houses, he was tasked with the responsibility of sending out rental package requests and did so on September 12, 2016. Within a few days, quotes came back and in the end, the rental house, Zenith Lighting Inc., which Mr. Hamilton had previously worked with most closely came in with a quote for exactly what had been requested and it was also the c heapest quote by several thousand dollars. In addition, Mr. Hamilton secured the follow spot units previously mentioned from Mr. Billings. Mr. Kaye discussed with the lighting designer the lack of LED units within the show. It was noted that the LED unit s the department owned were already promised to the BFA dance showcase. Mr. Kaye had already been contemplating purchasing the new ColorSource Spots ETC had released and asked the designer if she saw a place in the show where these units could be effectiv ely utilized if they could be secured. The lighting designer discussed with Mr. Kaye where she believed these units could be best utilized if they could be secured. With Mr. Kaye's assistance, five ETC ColorSource Spot units were secured, three units wit h the deep blue array option and two with the original array option. They were loaned from the ETC office in Orlando, Florida for the production in order to demonstrate their abilities and be evaluated as a potential future lighting purchase for the depar tment.

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25 It was also discovered that the inventory of fixtures to be used as footlights was insufficient. One of the fellow graduate lighting students, Andrew Leslie, suggested the Pica light fixture. The lighting designer mentioned this to Mr. Kaye as a p otential fix for the footlight shortage. Mr. Kaye happened to know the owner of the company Black Tank who manufactures these units and was able to request and received demo units of the Pica light. Two fixtures were sent in order to compare the two diff erent models available. O ne was the WNC fixture, which has a varying color temperature range of 2700K to 6500K, and the second was the RGBW fixture. Because of their intensity and field angle, it was determined that fewer fixtures would be needed than th e designer originally calculated when it was thought that an incandescent fixture would be used. Even with fewer units funds could not be allocated in enough time to ensure delivery in time for tech. In the end, when looking at the staging and other uni ts within the lighting rig it was determined that footlights would no t be needed for this production and their absence would not impact the production concept or value. UNFORSEEN PROBLEMS AND THEIR SOLUTIONS TBIs AND TECH Just under five months prior to Spring Awakening s opening, the lighting designer was in a major motor vehicle accident. The designer was traveling as a passenger on a motorcycle on the freeway when the driver lost control resulting in both the driver and passenger being thrown from the motorcycle into the next lane of traffic and then being run over by a nother vehicle. The motorcycle driver unfortunately passed away at the scene but the passenger was rushed to the hospita l and was treated for a myriad of life threatening physical injuries. Before returni ng to the University of Florida to complete the lighting designer's final year of graduate school and complete her thesis project, the lighting designer had to relearn how to walk, go up and down

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26 stairs, and regain her balance while standing. She also suffered from doubl e vision for about three months as well as having hearing impairment s In addition to the physical injuries sustained the lighting designer also had a tr aumatic brain injury (TBI), t he severity of which is hard to qualify since every brain injury is unique. While the l ighting designer was able to per form normal everyday functions and demonstrated no signs in her speech or in her conversational ability to suggest such an injury, the resulting battle in her mind, hidden to everyone, would suggest otherwise. Tasks she had been able to do with perfect ease before were suddenly extremely difficult and overwhelming. Two of the most challengin g things were abst ract thinking and multi tasking more than three things at once; two skills a good designer must be able to do seamlessly With a TBI the neuro pathways in one's brain have been interrupted. As the brain heals it does not always restore the pathw ays as they were. In addition the time needed for the brain to properly heal takes longer than a broken bone, often taking up to two full years. A good explanation of the effects of a TBI might be feeling that one's mind is drowning in its own thoughts; there are so many of them that it does not even have the ability to focus on just one. Likewise, it is as if the ideas in one's head are like phantoms swirling around On e can just make out the outline of it but cannot grab on to it It is as if the ans wer s one is in search for are always just outside of one's grasp. That being said, this situation brought on enormous amounts of panic and anxiety for the lighting designer During the entire tech process, constant panic attacks were normal. The feelin gs that the designer was losing her mind were ever present. They say sufferers of TBIs, or any mental breakdown, need something to help ground them to reality, to reass ure them that everything is all right This object serves as a tether if you will, bet ween them and the world

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27 around them. For her that object was her touch screen her Associate had provided for her that displayed her magic sheets. The whole world might be spinning around her, but as long as she had that touch screen in front of her, it tether ed her to reality. Throughout the first few days of the technical process she wanted to quit 10 12 times a day It was not from the stress, the pressure, or the volatile attitudes of those around her but because she felt broken; a fundamental part of her, the part that allowed her to be a good designer, had been lost on the pavement the day of the accident along with the departed driver. What kept her from taking off her headset and walking away was her Associate. She knew if she tried to quit and turn the s how over to him that he would not have let her. Another element that greatly added to the stress and anxiety of the tech process was all the text messages she received from her mentor. He was away at a conference over the tech weekend. The text messages were most definitely meant as encouragement and a way for the mentor to impart help and guidance while being far away. The intention behind them was in the right place; the mentor wanted the lighting designer to feel supported al though he was unable t o be there in person. While the intention was appreciated it was not helpful at the time. What made it difficult was that the text messages received painted a completely different picture of what was going on in the technical rehearsals then wha t the des igner was experiencing. I n the end it only heightened the designer' s fear s that she was losing her mind. T he TBI was affecting her to a greater extent than she thought and she felt that she might be experiencing the beginnings of a mental breakdown as her doctor s had warned her might occur because of too much stress too early on a healing brain. The lighting designer gathered her lighting team and made great apologies hoping to mend any bro ken relationships and intending to salvage her team, their trust, and the rest of the tech process. They reassured her that everything was all right

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28 and her perception of the tech process was not skewed and that she should press forward and get through the r est of the tech process. OTHER PROBLEMS AND THEIR SOLUTIONS Before tech there were also a few bumps that had to be smoothed out. It was not until the first production meeting that Professor Mata mentioned how he desired low lying fog for the grave scene in the second to last scene of Act 2. Because this desire had never been expressed prior there were no funds available to purchase or rent the equipment and materials needed. Instead the second fog machine the department ow n ed was utilized and placed upstage center under the platform of the set and then pumped onto the stage through a hose and a large mouth funnel. Another idea expressed during the first production meeting was that of the practicals that had been a feature of the research the lightin g designer had presented. Professor Mata still desired this look. The struggle became that there were no elements in the set that could be made into practicals and that could achieve the effect Professor Mata desired. In order to accommodate this desire the scenic and lighting designers collaborated on a solution. The result was a trip to a facility that resells all types of used goods. Here the designers were able to find elements that could be added to the set and turned into practicals as the direc tor desired, while not compromising the scenic design. After our first production meeting, Mr. Spurlock, Professor Mata, Professor Offerle, and the lighting designer went to the Constans Theatre main stage to discuss t he space allocated for the band and t he placement of a moving light fixture near the band s allocated area. There was a concern that the equipment and people needed would not all fit within the space. After a lengthy discussion, it was determined that it would be a tight fit but could be ma naged in the end.

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29 Two different campus shut downs occurred during the fall semester, both due to hurricanes. The second closure, for hurricane Matthew, meant that the focus call day for Spring Awakening was canceled and the painting of the floor would ha ve to be rescheduled. The schedule was reworked as best as it could be but ultimately it ended up being a sporadic focus occurring over several days. Another element that hampered the focus process was that the patch for the lighting rig was incorrect w hen it was imported; the dimmer numbers did not correspond to the correct channel numbers. This error occurred because of a paperwork error that the lighting team was able to resolve, but it unfortunately occurred due to the lighting designer not thinking clearly, because of her TBI, when she made an edit to the paperwork. Another element that created a hurdle in the process was a miscommunication regarding the ordering of the correct unit needed to have DMX control of the hazer. In the end, it could not be secured in time for the production. This did not affect the look of the prod uction or the use of the hazer; it merely added a step for the production management team as they were unable to use the time and distance calculations for hazer output to rem ain within the actor s equity regulations. Because of this, our Production Manager had to use the Actors Equity Associations (AEA) approved tester which the department purchased to e nsure the hazer remained within equity regulations. The follow spot un its used had a few glitches through out tech because of a profile issue which Mr. Hamilton and the original software programmer Mr. Staton tried to fix throughout the tech process. By opening night the issue had been mostly resolved. T here was a littl e jitteriness to the fixture but it was not distracting enough to be a problem, or at least the lighting team along with the lighting mentor did not believe it to be. It was not until after opening night

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30 that Professor Mata expressed any concern about the follow spots performance. Had the lighting team been aware, the team would have created a solution for Professor Mata's concern.

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31 CHAPTER 7 TECHNICAL PROCESS PRE TECH WEEK Because of the cancelation of the focus call and the addition of the practicals during our first production meeting the week leading up to tech was stressful. Much of the designer's time was spent making sure all the lighting components were working so that tech could run smoothly. To ensure this, the designer ha d Mr. Hamilton, who also served as the programmer, work on focus and color palettes, as well as presets for the moving light fixtures. This helped the lighting designer feel more prepared going into the tech process because it allowed for faster decision making during tech. Because Mr. Hamilton had been the only one who had previously used the remote control follow spot units, much of his time along with the Assistant Lighting Designer's time was used to network these units into the lighting system. Mr Hamilton also spent many hours working with Mr. Staton via phone and email to get the profile correct for the fixtures so they would function correctly. He also took time to show the two assistants how to effectively use these units so they cou ld effect ively design with them and so that they could properly explain how to use these units to the follow spot operators. Alt hough Mr. Hamilton, Mr. Hodge, and Mr. Singleton put in a number of extra hours with these units, the level of design sophistication achieved was worth all of the additional time and effort. TECHINICAL REHEARSALS Technical r ehearsals began on the evening of Friday, October 21, 2016. There was a slow start due to a network cable issue with the lighting console. The light ing team was able to resolve it and tech resumed. We progressed through pre show to the beginning of the song "My

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32 Junk". The lighting team arranged to come in three hours prior to tech rehearsal in order to write some cues for the rest of Act 1 in an attemp t t o speed up the tech process. Coming in early did help tech progress faster and by the end of the second day of tech, the rest of Act 1 had been fully worked through and onto the beginning of Act 2. Tech stopped just before the song "Totally Fucked", whi ch is about a quarter of the way through Act 2. The fog effect that comes up from the grave in Act 1 was tested and it wa s within AEA standards. Af ter t ech finished, the lighting team met and agreed to come in two hours before technical rehearsal began t o continue working on lighti ng cues. By the end of Sunday's tech rehearsal all but the final number of the show, "Purple Summer" and final bows for the entire cast, had been worked through The other fog effect in the show, when Melchior enters the graveyard at t he end of Act 2, was tested but failed to pass. The lighting department said it would work on a solution to ensure it was within Equity regulations. The fourth day of tech bega n by finishing the final number, "Purple Summer" and cast final bows were sta ged. Before beginning a full run, Mr. Mata asked that the number "Bitch of Living" be worked on. Upon reworking "Bitch of Living" the show was run from the top and made it to the end with only a few stops to fix some lighting and sound elements. The se cond fog effect was retested, however it faile d to pass the Equity test again and the lighting department said it would make changes again and retest DRESS REHEARSALS The first Dress Rehearsal was Tuesday, October 25, 2016. It was a success bec ause for the first time in several years, a full run through of the entire production was possible at the first dress rehearsal. There were minimal holds for a few costume changes and lighting and sound

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33 notes. The next two dress rehearsals went smoothly with no holds or major alterations. The only significant occurrence was that one of the follow spots went a little haywire during the final dress rehearsal but the operators were able to quickly resolve the issue and it also served as good practice for th e operators in case that situation were to occur during a performance. OPENING Opening night went smoothly. A few glitches occurred with the follow spots but nothing that had not been anticipated. Several performances later, via a performance report, i t was communicated that Professor Mata no longer liked the abrupt blackout at the end of Act 1 that transitioned the show into intermission. It was asked if this could be changed. Up until this performance report, no one on the lighting team was aware th at Professor Mata did not like the transition. The transition had been this way from the second day of tech and had never been changed or even discussed. Because the show was in the middle of performances the lighting designer came in before the next sh ow an d changed the time of the black out cue. The stage manager was informed that the cue should still be called in the same location. It was very much a guess if this change to the cue's time would create the desired effect Professor Mata desired, but it was never referred to again in the performance report which was taken as a sign that the fix had been successful.

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34 CHAPTER 8 CONCLUSION PRODUCTION COMMENTARY In hindsight, the lighting team agreed that a different moving light fixture should have been used instead of the Clay Paky Sharpy Washes. It made sense at the time to select this fixture, but upon implementation, it was realized that another fixture woul d have been better. The fixture is a small but extremely powerful unit that is often used in large arenas, but for this space it was too powerful. Throughout the entire production the operators never ran the intensity of the fixtures above 25%. A numbe r of things went extr emely well with this production and the entire design team worked exceptionally well together. An element that made the process difficult for the lighting designer was lack of a conceptualized storyboa rd for the production. In the s p ring, Professor Mata had expressed how much he enjoyed it when lighting designers would come to rehearsals He liked to be able to collaborate with them so that when the cast moved onto the set the lighting designer and he would already have a point from which to jump of f of The lighting designer took this as the director saying that this collaboration in the rehearsal space helped develop a language between them of how to talk about the production, which could in turn make the tech process easier since a general cohesiveness would have already been established. Yet, when she would talk with the stage manager about coming to see rehearsal while the cast was still in the rehearsal space she was informed that the director had expressed that it was not nece ssarily the best use of her time since all the staging would most likely change once the cast moved to rehearsing on stage. Even when the lighting designer did attend complete run throughs of an Act or the entire show the director would again say not to take too many notes on

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35 staging because everything could change as soon as the cast was on the set and out of the rehearsal space. It became obvious that unless the director could see the actors in their costumes on the actual set there was no ability to have a discussion about what was visually desired on stage. It is challenging when the person who is suppose d to be driving the train is in not so many words saying that it is almost a waste of time to be at rehearsal. The lighting designer is all for th e creative process and allowing directors freedom to change staging as needed but with the schedules in place in the department certain decisions concerning fixture placement have to be decided and implemented well before onstage rehearsals. One very s uccessful element of the lighting design was the number of moving light fixtures and their placement in the space. The versatility of the fixtures themselves and their placement allowed the lighting designer to accommodate what the director asked for with out having to just take notes and rehang fixtures during a break or allotted time for work notes. This ultimately contributed to a successful tech process. Even with the bumps along the way, Spring Awakening had a very successful run from October 28 Nov 6, 2016, with most performances being completely sold out. SELF EVALUATION The obvious self criticism is that I wish I had not gone through this thesis project having ju st been in a motorcycle accident and losing someone I cared deeply for, as well as having to deal with the resulting physical and mental injuries. Obviously, I had no control over those events, but because I struggled so much with my TBI, it held me back from being as tenacious as I usually am with inquiring of the director about what t hey visually want to see. I wish I could have sat down with Professor Mata more and created a storyboard idea for each significant moment in the show; similar to the process I had with another director the previous semester

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36 when working The House of Atreu s I believe this would have minimized the amount of frustration and tension during the tech process and allowed the director to impart some of the vision he saw in more concrete terms than just abstract language. In tech, it appeared that decisions wer e made flippant ly rather than being rooted i n a direction or overall vision and choices became based on the opinion of "I want to see something different." I understand that not all directors have a large lighting vocabulary but even using a reference i mage, be it a painting, sculpture, architectural piece, or an installation piece for example, might have allowed the team to land on ideas that could have served the production well. Similar to how directing takes hours of time outside of rehearsal craft ing the image seen on the stage takes time as well Professor Mata and I have not had the opportunity to work with one another before and therefore a lot more time needed to be invested before tech to truly understand what Professor Mata envisioned Gre at lighting designer and director teams work well together because they have a multitude of productions under their belts and the designer knows what the director wants. There are certain elements that a good design of a ny musical must have, but then part of the process I believe, is the designer and director working together to achieve a vision. That is what takes a good design and makes it into a great design.

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37 A PPENDIXES

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38 APPENDIX A RESEARCH IMAGES

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Spring Awakening Fall 2016

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As the world beginnings to

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Futurism (in Art)

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61 APPENDIX B PRODUCTION PHOTOS

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62 Image 1 : Top of Show Photo Credit: Colton Spurlock

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63 Image 2 : Wendela, Mama Who Bore Me Photo Credit: Susanna Mars

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64 Image 3 : All That's Known Photo Credit: Susanna Mars

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65 Image 4: All that's Known Photo Credit: Todd Bedell

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66 Image 5: Bitch of Living Photo Credit: Susanna Mars

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67 Image 6: The Word of Your Body (Reprise 1) Photo Credit: Susanna Mars

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68 Image 7: Papa Beats Me As It Is Photo Credit: Susanna Mars

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69 Im age 8: Moritz Passed the Midterms Photo Credit: Susanna Mars

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70 Image 9: Melchior's Study Photo Credit: Sam Kennedy

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71 Image 10: Hayloft Photo Credit: Susanna Mars

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72 Image 11: "You Failed!" Photo Cr edit: Susanna Mars

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73 Image 12: Don't Do Sadness/ Blue Wind Photo Credit: Susanna Mars

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74 Image 13: Vineyard at Sunset Photo Credit: Susanna Mars

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75 Image 14: Graveyard Photo Credit: Todd Bedell

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76 APP ENDIX C DRAFTING PAPERWORK

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Trap Door AP Trim: 18'-0" Center Main Speaker Line Array Stage Left Main Sub Stage Left Main Speaker Line Array Stage Left Main Sub Stage Left Main Speaker Line Array 1 18 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 5 2 4 313 3 314 2 319 1 320 1 15 5 301 N/C 5 900 N/C 5 900 1 303 4 310 2 304 3 309 6 13 6 322 5 316 4 43 3 22 2 315 1 321 5 16 4 302 3 307 2 308 SH SH PL 1 15'-0" 11" 2 19'-0" 1'-9" N/A LEGS #1 All Trim Measurements are from deck to the bottom of pipe C L SHARPY WASH POSITION CONTROL POSITION SPRING AWAKENING GROUND CONTROL FOLLOWSPOT FIXTURE PLACEMENT OVERHEAD VIEW FIXTURE TO BE USED: CLAY PAKY SHARPY WASH 330 DISTANCE FROM PLASTER LINE: 46'-0" DISTANCE FROM CEILING: 7'-5" HEIGHT OFF OF DECK: 17'-10" DISTANCE FROM CONTROL POSITION: 28'-6" AS OF 09/21/2016 PREPARED BY DBH !"#$%&'%&()*"+,#-$.%/-0*!"&).%/ !"#$%&'%&()*"+,#-$.%/-0*!"&).%/

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LS # TRIM D' to PL DESCRIPTION 3 2'-5" 4 3'-3" 5 20'-0" 3'-11" 6 20'-0" 4'-8" 7 20'-0" 5'-5" BORDER 8 21'-0" 6'-2" N/A 9 20'-0" 6'-11" N/A 10 24'-0" 7'-8" 11 20'-0" 8'-5" N/A 13 20'-0" 9'-11" N/A 15 20'-0" 11'-5" N/A 16 17'-6" 12'-2" 17 20'-0" 12'-11" N/A 23 17'-5" 24 23'-0" 18'-2" N/A 25 20'-0" 18'-11" FLAT WALL 26 19'-8" 27 29 21'-0" 21'-11" N/A 30 20'-0" 22'-8" N/A 31 20'-0" 23'-5" N/A 32 20'-0" 24'-2" N/A 33 22'-0" 24'-11" BORDER 34 19'-6" 25'-8" LEGS 35 20'-0" 26'-5" 36 20'-0" 27'-2" N/A 37 20'-0" 27'-11" N/A 38 20'-0" 28'-8" N/A 39 20'-0" 29'-5" N/A 40 20'-0" 30'-2" REMOVED 41 20'-0" 30'-11" N/A 42 20'-0" 31'-8" N/A 43 20'-0" 32'-5" N/A 44 20'-0" 33'-2" N/A 45 20'-0" 33'-11" N/A 46 20'-0" 34'-8" 5TH ELECTRIC (CYC TOP) 47 20'-0" 35'-5" 6TH ELECTRIC (CYC BOTTOM) 48 20'-0" 36'-2" N/A LEGS N/A 22'-0" 20'-0" 1 15'-0" 11" 2 19'-0" 1'-9" N/A 12 9'-2" 15'-0" LEGS 14 26'-9" 10'-8" N/A 18 24'-6" 13'-8" 19 16'-0" 14'-5" 20 @ Floor 21 15'-11" 22 @ Floor 16'-8" @ Floor LEGS TRUSS# 2 N/A N/A N/A 28 N/A N/A 20'-0" 20'-5" N/A 15'-0" 21'-2" N/A LEGS #1 19'-6" 17'-0" N/A N/A 15'-2" TRUSS # 1 CYC BORDER SHARPY WASH POSITION CONTROL POSITION SPRING AWAKENING GROUND CONTROL FOLLOWSPOT FIXTURE PLACEMENT SECTION VIEW FIXTURE TO BE USED: CLAY PAKY SHARPY WASH 330 DISTANCE FROM PLASTER LINE: 46'-0" DISTANCE FROM CEILING: 7'-5" HEIGHT OFF OF DECK: 17'-10" DISTANCE FROM CONTROL POSITION: 28'-6" AS OF 09/21/2016 PREPARED BY DBH !"#$%&'%&()*"+,#-$.%/-0*!"&).%/ !"#$%&'%&()*"+,#-$.%/-0*!"&).%/

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84 APPENDIX D MAGIC SHEETS

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88 APPENDIX E CUE SCORE

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A-Sc Page Cue # Notes Time M F H W D P Notes A1-S1 1 0.5 All Parameters at 0 0 1 P20 Mark 0 X 1 1 House and Preshow In 3 1 3 House to Half 3 1 5 House Out 3 1 7 FTB AF 1 9 Enterance for the Cross 5 1 10 FTB 12 1 11 Lts Up/ Haze/Mama Who Bore Me/ Establishing Look/ Back Lt/ Side Lt. SL w/gobo 3 1 13 Moritz Ball 2 X 1 15 Twinkle/ Practical 1 X 1 17 Twinkle/ Practical 1 X 1 19 Twinkle/ Practical 1 X 1 21 Twinkle/ Practical 1 1 23 Twinkle/ Practical 1 X 1 25 Twinkle/ Practical 1 X Spring Awakening, Constans Theatre, UF, October 2016 Cue Local Ref

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1 27 Twinkle/ Practical 1 X 1 29 Twinkle/ Practical 1 X 1 31 Twinkle/ Practical 1 X 1 33 Twinkle/ Practical 1 X 1 35 Twinkle/ Practical 1 X 1 37 Twinkle/ Practical 1 1 39 Wendela up top 4 1 41 Descending Stairs 4 1 43 Build of DNST, when she is about to cross from stairs 3 1 45 Build of the space/ Adults out 3 1 49 Pull DN/ to her location 5 1 53 Xfade to Wendla's Room (Naturalistic Look) (Warm Inviting) / Girls still on pit 3 3 54 Pull to Mom and Wendela 4 4 55 Xfade/ Mama Who Bore Me (Reprise) 5/3 4 57 Build (When they stand) 1 4 59 When Girls on Stairs 0 4 61 Build (on their Circling around mother) 1 4 63 Final Positions 4 65 As they cross to cover boys enterance 3

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4 67 Snap to Boys 1 A1-S2 5 69 Xfade to School Lt 3 7 71 Xfade to All I Know (Multi-part cue) 1/5 8 75 Build (as he stands) 10 8 77 Build (music change) 0 9 79 Pull DN 7 9 81 Button/ FS Out 1 9 83 Xfade back to School 3 10 85 Xfade to Bitch of Living/ Movers on Moritz as backlight 0 11 89 Build (Mortiz starts fidgiting) 0 11 91 When all the boys snap 0 11 93 Movement [All start Stomping Right after Tonybitch] AF 11 95 Restore/ FS Georg/ Hits with Movers 1 11 97 Build/ After Georg 0 11 99 What (Hit/ Color) 0 11 101 Went (Hit/ Color) 0 11 103 Wrong (Hit/ Color) 0 11 105 Restore into something AF 11 107 Pull DN/ FS 0

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12 109 Build/ Swell/ Suck to the middle (Right around Melcky) 2 12 111 Hit/ Something (Get boys in Pit) 0 12 113 Build/ when they all come DN ST 3 12 115 Swell 3 12 119 Xfade back to School 3 13 120 Jeff Leaves 4 13 120.5 Otto Leaves 4 13 120.7 Hanchen and Ernst 4 13 120.9 Pull to Melchior and Mortiz 4 14 121 Xfade to Teachers 3/5 A1-S3 16 123 Xfade to Bridge (On Plat 2) 3/5 16 125 Transition to Deck 3/5 17 127 Xfade to My Junk 2 18 129 Build (When they all sing) 0 18 131 Pull DN to Piano Lesson 2 18 133 Xfade to T-shirt Boy (on piano change) 2/3 18 135 Lt on Father 3 18 137 Pull DN on Father 3 19 139 Piano Lesson (on the teacher hit) 0

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19 141 Xfade to T-shirt Boy (when piano starts again) 3/5 19 145 Pull DN on Father 4 20 147 X to Piano Lesson (on teacher's clap of hands) 0 20 149 Pull DN/ FS 0 20 151 Thea Spot 0 20 153 Anna Spot 0 20 155 Build with ensemble 0 20 157 Pull DN to more girls 2 20 159 Swell when girls holding hands 1 20 161 Pull DN/ Hanchen 2 20 163 Break away from Hanchen 4 20 165 You/ Hit 0 20 165.1 Restore AF 20 167 You/ Hit 0 20 167.1 Restore AF 20 169 You/ Hit 0 20 169.1 Restore AF 20 171 Xfade to Melchior's Study (Naturalistic Lighting, Warm) 0 A1-S4 21 173 Build w/ Moritz Enterance 3

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21 174 Pull to Melchior and Mortiz 4 21 175 With Piano/ Touch Me 4 21 177 Pull DN to Melchior and Moritz/ Moving Lt as BK with Spinning Gobo 2 21 181 Touch Me/ Build of stage 2 21 183 Natural Look 3/5 26 185 Xfade back to the life of the song/ boys cross stage/ Build on OH's 4 26 189 Otto Crossing 4 26 191 FS/ Boys break away from Georg 4 26 193 Pull DN/ FS Different Groups 4 26 197 Hands 0 26 199 Hands 0 27 209 Pull DN 3 A1-S5 28 213 Xfade to Woods 3/5 28 213.1 For Marking on Movers AF 30 215 Xfade to The Word of Your Body/ Fractured High Sides/ Practicals 4 31 227 Restore to them in woods 5 31 229 Their Exit from the woods AF A1-S6 32 231 Xfade to Schoolyard 3/5 33 233 Xfade to Teachers 3/5

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33 234 Restore to School Boys 4 A1-S7 34 235 Xfade to Girls 3/5 35 236 Pulling to Center/ SR 4 37 237 Adds Mama 3/5 37 239 Pull to Mama/The Dark I Know Well AF 37 241 Pull to Martha 7 38 245 FS (Lt on Father) 1 38 247 FS/ Father Pull DN 4 38 249 Build (when they both sing/ ensemble enters) 2 38 253 Moving Lts BK LT (Gobo's Spinning) (God ain't it good) 3 39 255 Girls turn together 0 A1-S8 40 259 The Woods/ Melchior and Wendela AF 40 261 Moritz w/Teachers 3 41 262 Teachers Ex/ Moritz Lt Out 7 44 267 Xfade to The Word of Your Body Reprise (on platform) 3/5 A1-S9 45 273 Xfade to Stiefel Study (Naturalistic Lighting, but cold) 3 46 274 Pull DN to more Center on Mortiz Cross 4 A1S10 47 275 Add Mother/ And Then There Were None 3 47 277 With Music/ highlight Moritz 4

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47 279 Build on Moritz 4 48 291 Moves DNST to sit 4 48 292 Build for Boys SR 4 49 293 Build for Boys SL 4 49 295 Moritz Cross to DNST w/ gun 3 A1-S11 50 311 The Mirror-Blue Night/ It should feel like we turned all the lights off 5/1 50 313 Boys (Practicals are the switch) 1 50 315 Melchior's Enterance 4 50 317 Music Break 1 50 319 Boys/ Build 3 50 321 Pull DN to Melchior 2 50 323 Music Break 2 50 324 As they leave/ Button 2 50 325 Restore to Wood 0 50 325.5 Adding in Branches 4 50 327 Xfade to Hayloft 15 52 329 Pull DN (as wendela kneels) 5 53 331 Pull DN (as they come together) 5 53 333 Xfade to I Believe 10

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53 337 Wendela and Melchy to Floor 4 56 349 BO 1 56 350 INTERMISSION 5 56 351 House to Half 5 56 353 FTB 5 A2-S1 57 355 Add Hayloft (beautiful/ delicate lighting) 3 57 357 Church/ Minister AF 57 359 Church out 3 58 365 Xfade to Guilty Ones/ mostly lit with practicals/ want to honesty to show through 7 58 369 Pull DN to them around the couple during priest 4 58 371 Loose priest 5 59 375 Button/ Mortiz interrupting 0 A2-S2 60 377 Don't Do Sadness 4 60 379 Build (Nothing Going) 5 60 387 High Note End (Just don't care)/ In the woods and Ilse enterance 3 60 387.1 For Tracking 4 60 389 Pull to them sitting 0 61 391 Xfade -Blue Wind 4 62 397 Slow Fade Out/ Pull DN 3

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63 401 Flip to Music 0 63 407 Button 1 64 409 Xfade to Woods 10 64 411 Moritz Lt 3 64 412 Pull Down 3 64 413 Pull DN 3 64 415 BO 0 64 415.1 Dark Move 0 A2-S3 65 417 Cemetery (Cold rainy/ lonely) 3 65 419 Left BehindLts Up 3 65 421 Build/FS 2 65 423 Vocal Build 2 66 425 Build space (As everyone comes to grave) 3 66 427 Pull DN to Melchior 4 66 435 Button 2 A2-S4 67 437 Xfade to Headmaster's Office 3/5 68 439 Totally Fucked 0 68 441 Guitar Riff 2 0 68 442 Out AF

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69 443 Guitar Riff 0 69 444 Out AF 69 445 Lts In/ FS/ Effect 0 69 446 On Melchior 1 69 447 Pull to Otto 1 69 448 Pull to Georg 0 69 451 Full Stage Craziness 0 69 452 Melchior cross downstage 1 69 453 Melchior cross to deck again 0 69 455 Blah, Blah, Blah (Chorus) 0.7 69 456 Melchior X Upstage 1 69 457 Guitar Riff 2 69 458 Snap 0 69 459 Melchior/ Full Stage/ Effects to go with beat 0 69 460 Snap 0 69 462 Full Stage Craziness (Yeah you're fucked) 0 70 463 ChorusYeah You're Fucked 2 70 464 Teachers 0 70 465 YESSS! 3

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70 467 Restore Craziness 1 70 468 ChorusBlah, Blah, Blahs 1 70 469 Change with Blah, Blah, Blah, Blah, 1 70 471 Change in tempo/ more like full stage craziness (Kitchen Sink) 1 70 473 Bump 1 70 475 Button 4 A2-S5 71 477 Xfade to vineyard at Sunset 3 71 471.1 Build Fr Lt 5 72 479 Pull to Hanschen and Ernst 3 72 480 Xfade to The Word of Your Body Reprise (Practicals like fireflies) 3 72 481 Shift to Scene, but with same quality 3 72 483 Xfade to their magical world 3 72 484 Restore to Churchyard 3 72 485 Wendela Enters w/ letter 4 A2-S6 73 486 Bruise Shift/ Melchior speaking to her 3/5 73 487 Wendela with Doctor 4 73 488 Mom and Doctor SL 4 73 489 Mom and Wendela 6/4 76 491 Xfade to Whispering 3

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78 493 Mama Leaves 3 78 495 X to parents in SR Box 4 79 497 Restore to Song 3 78 499 X to parents 4 79 501 Restore to Song 4 79 503 X to parents 3 79 505 Restore to Song 3 79 507 Pull DN on parents in Box 3 79 508 Transition Lt 4 79 508.5 Add Face Lt for Melchior AF A2-S7 80 509 Xfade to Reformatory 4 80 510 Boys Enter 4 81 511 Cross away from stairs 4 82 513 Split Stage with Abortion (Box 2/ below it) 3 82 515 Pull back to Reformatory 3 83 517 Fight 3 83 519 Scene Shift to Wendla 3 83 519.1 Restore 2 84 520 Mother Leaves 3

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84 521 BO 0 A2-S8 85 523 Bridge (Center on Deck) 3 A2-S9 86 525 Xfade to graveyard/ FOG 3/5 86 526 Enterance Lt Out AF 86 527 Pull to graveyard 4 86 528 Fog 8 86 529 Cross 4 86 531 Heaven Lts 2 87 532 Fog 4 88 533 Wendela and Moritz to Silhouette 3 88 535 BK on Wendela and Moritz 0 87 537 On Turn Table 3/5 88 539 Turn taway from Melchior 3 88 541 Walk Away AF 89 543 Pull to Melchior 2 89 545 FTB 2 A2S10 90 547 Purple Summer 3 90 549 Group 1build 1 90 551 Group 2build 1

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90 553 Group 3build 3 91 555 EnsembleBuild 2 91 557 Wendela and Moritz 3 91 559 Melchior 3 91 561 Finale 10 91 563 FTB 3 91 565 Bow Lts 5 91 566 Restore 4 91 567 Post Show 5 91 569 House Lts Bumb 5 91 571 House Lts Full 5

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104 APPENDIX F FOLLOWSPOT CUE SCORE

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107 APPENDIX G RENTAL QUOTES

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Zenith Lighting 6557 Hazeltine National Drive Suite 12 Orlando, FL 32822 USA Phone: 407 855-0088 Fax: 407 855-0069 Quote Quote Number: 16196 UF (Dalton)Spring Awakening Client Dalton Hamilton UNIVERSITY OF FLORIDA SCHOOL OF THEATRE AND DANCE 687 MCCARTY DRIVE GAINESVILLE, FL 32603 Venue / Site UNIVERSITY OF FLORIDA SCHOOL OF THEATRE AND DANCE 687 MCCARTY DRIVE GAINESVILLE, FL 32603 Account Manager Shipping Method Customer PO Warehouse Terms Tax Rule Angela N Garcia Van Zenith Lighting Orlando Net 30 Sales Tax Ship Date Load In Show Start Load Out Return Date Discount Valid Until 10/17/2016 9:00 AM 11/7/2016 5:00 PM Type Qty. Description Note Time Rate Price Price Ext. Moving Lights Rental 9 Martin Mac Viper Performance 1 Week Rate 275.00 2,475.00 Rental 1 Martin Mac Viper Performance SPARE Week Rate 275.00 0.00 Rental 2 Clay Paky Sharpy Wash 330 1 Week Rate 200.00 400.00 Moving Lights Total: $2,875.00 Trucking Trucking 1 Delivery 1 Week Rate 325.00 325.00 10/17/2016 9:00 AM 11/7/2016 5:00 PM Trucking 1 Pick up 1 Week Rate 325.00 325.00 10/17/2016 9:00 AM 11/7/2016 5:00 PM Trucking Total: $650.00 Subtotal: $3,525.00 Sales Tax: $186.88 Total: $3,711.88 Total Applied Payments: $0.00 Balance Due: $3,711.88 9/12/2016 4:04 PM Page 1 of 1

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Account Manager UF (Dalton)Spring Awakening Name 16196 Quote Number Angela N Garcia Quote Date 9/12/2016 Dalton HamiltonUNIVERSITY OF FLORIDASCHOOL OF THEATRE AND DANCE687 MCCARTY DRIVEGAINESVILLE, FL 32603 UNIVERSITY OF FLORIDASCHOOL OF THEATRE AND DANCE687 MCCARTY DRIVEGAINESVILLE, FL 32603 Status Total Inquiry $3,711.88 10/17/2016 9:00 AM 11/7/2016 5:00 PM Net 30 Terms Client Venue / Site Return Date Ship Date 6557 Hazeltine National DriveSuite 12Orlando, FL 32822USAPhone: 407 855-0088 Zenith Lighting Orlando TERMS AND CONDITIONS OF LEASEFor and in consideration of the covenants and agreements by the Lessee, to pay the rent herein provided for and to perform the terms,covenants and conditions of the Lessees part herein contained, the Lessor, hereby leases to the Lessee, and the Lessee hereby hires and takesfrom the Lessor, each unit of equipment as described on the attachment to this document and hereinafter referred to as the quote for the termset forth in the above schedules, shown on the attached, (quote) and all terms and conditions of this lease, and upon and subject to thecovenants, conditions and provisions hereinafter set forth.1. RENTAL The Lessee agrees to pay the rental rates and charges stipulated above from the contract commencement date, herein stated,up to the contract conclusion date, herein stated, and the return of such equipment, in the same condition as it was received by the Lessee, tothe Lessor.2. LOCATION AND USE OF EQUIPMENT The said equipment shall be located and used at the place of business of the Lessee or asdesignated in the said schedule and shall not be removed without the prior written consent of the Lessor. The Lessee shall cause the saidequipment to be maintained and operated properly and by competent employees only and shall pay all expenses of operating said equipmentand maintaining the same in good repair. The Lessee agrees to operate said equipment without removing, obscuring, altering, or in anymanner concealing the name plates, decals, or the other identifying marks of the Lessor, affixed or attached to the said equipment.3. REPRESENTATIONS AND WARRANTIES Upon Delivery of the said Equipment by Lessor to Lessee, Lessor warrants that the sameshall be in proper working order. The rental payment by Lessee specifically includes consideration for Lessors maintenance of the saidEquipment, during the specified rental term and it shall be Lessors responsibility to repair and maintain the same at Lessors expense,provided that such repair and maintenance is for ordinary wear and tear. Any damage to the equipment caused by lessee which is not ordinarywear and tear shall be repaired by lessee at its sole cost and expense.4. EQUIPMENT OWNED BY THE LESSOR Title or ownership of the said equipment is, and shall at all times, remain vested in the Lessorand the Lessee shall have no right of property therein except the right to use the said equipment, which right shall be exercised by the Lesseeand/or competent employees of the Lessee.5. LOSS OR DAMAGE TO The Lessee assumes all responsibility and the cost and expense as may be required for the lawful operation of theEquipment. All certificates of title or registration applicable to the Equipment shall be applied for, issued, and maintained in the name of theLessor, as Owner. The Lessee shall observe all safety rules and other requirements of regulatory bodies having jurisdiction and shall pay allfines and similar charges that may be duly and lawfully imposed or assessed by reason of the Lessees failure to comply with the rules,regulations, and orders of regulatory bodies having jurisdiction6. NO SUBLEASE OR ASSIGNMENT OF LEASE BY LESSEE The Lessee shall not transfer, deliver up possession of or sublet the saidequipment and the lease hereby granted shall not be assignable by the Lessee without written permission of the Lessor, which permission maybe arbitrarily withheld, but nothing contained herein shall prevent the Lessor from assigning, pledging, mortgaging, transferring or otherwisedisposing of either in whole or in part, of the Lessors rights hereunder.7. MAINTENANCE AND INSPECTION OF The Lessee shall pay all operating expenses. The Lessee shall at all times provide suitable storagefacilities and appropriate services for the Equipment including washing, polishing, cleaning, inspection, and storage space, and at the end orother expiration of this lease shall return the Equipment to Lessor in operating order and in the same condition and state of repair as it was atthe date of delivery, ordinary wear and tear excepted.8. INDEMNIFICATION; INSURANCE.a. The Lessee warrants that Lessees use of the equipment will not infringe upon the copyright or other intellectual property right of any thirdparty. The Lessee agrees to indemnify and hold Lessor harmless from any claims, actions, suits, proceedings costs, expenses, damages andliabilities, including reasonable attorneys fees, which allege that Lessees use of the equipment infringed upon the copyright or otherintellectual property right of any third party.b. The Lessee agrees to indemnify and hold Lessor harmless from any claims, actions, suits, proceedings costs, expenses, damages andliabilities, including reasonable attorneys fees, which arise out of the installation, possession, use or operation of the equipment by the Lesseeor any third party; provided, however, that Lessees obligation to indemnify and hold Lessor harmless shall not extend to any claims, actions,suits, proceedings costs, expenses, damages or liabilities caused in whole or in part by the negligent or purposeful actions of Lessor, or any ofLessors employees, agents or subcontractors.c. The Lessee agrees to furnish the Lessor with a current and valid proof of liability insurance certificate, and agrees to add Lessor as anadditional named insured on Lessees liability insurance policy. The Lessee also agrees to add Lessor to Lessees insurance policy as loss payeefor the full replacement value of all equipment leased from Lessor.9. EQUIPMENT TO REMAIN PERSONAL PROPERTY. The said equipment shall at all times during the term of the lease be and remainpersonal or moveable property, regardless of the manner in which it may be attached to any real estate. The Lessor shall install the saidequipment in a manner which will permit its removal without material injury to the place of installation. Excepting any damage caused byLessors own negligent or purposeful actions, the Lessee shall be responsible for any damage done to any real estate, building or structure bythe installation or removal of the said equipment and shall indemnify and save harmless the Lessor there from.

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10. TERMINATION OF DEFAULT Upon the occurrence of any event of default by lessee, the Lessor may, at its option, terminate the leaseby notice to the Lessee, whereupon the Lessee shall be obligated to return the said equipment to the Lessor and shall also be liable to theLessor for the payment of the total rent therefore, and all such rent shall become due and payable forthwith, and for all damages which theLessor may sustain by reason of the Lessees breach, including, without limitation, all legal fees and other expense incurred by the Lessor byattempting to enforce the provisions of this agreement or to recover damages for the breach thereof. If either party shall at any time commitany breach of any covenant, warranty or agreement contained herein, and shall fail to remedy the breach within ten (10) days after receivingthe other partys written notice thereof, delivered via certified mail return receipt requested, the other party may at its option, and in additionto any other remedies that it may be entitled to, terminate this Agreement by providing the offending party with written notice.11. LESSEE EVENTS OF DEFAULT The following shall each constitute an event of default and be subject to cure period in clause 10 above;(I) the failure of the Lessee to pay any installment of rent; (ii) the breach of any covenant or condition contained in this lease; (iii) thesubjection of the said equipment to any lien, levy, or attachment; (iv) any assignment by the Lessee for the benefit of creditors; (v) theadmission of the Lessee in writing of its inability to pay its debts generally as they become due; (vi) the filing by or against the Lessee or apetition for the reorganization or liquidation of the Lessee under any federal or state laws; (vii) any other act of bankruptcy or other actlimiting the generality of the foregoing, that makes it likely that the Lessee is about to abscond with the equipment.12. LESSOR EVENTS OF DEFAULT. The following shall each constitute an event of default and be subject to cure period in clause 10above. (i) the failure of Lessor to provide equipment as scheduled by Lessee, (ii) equipment delivered is inadequate and not in workingcondition, (iii) Lessor filing bankruptcy, reorganization or liquidation.13. NO ASSIGNMENT Neither this Agreement nor any of the rights and powers created herein may be assigned, in whole or in part, by eitherparty without the prior written consent of the other party.14. RETURN OF EQUIPMENT UPON TERMINATION Upon the termination of this lease the Lessee shall, return the said equipment tothe Lessor in the same condition as it was received by the Lessee and if the Lessee fails to do so, the Lessor shall have the right to retake andretain the Equipment with demand on five (5) days notice or legal process free of all right of the Lessee, in which case the Lessee authorizes theLessor or its agents to enter upon any premises where the Equipment may be found for the purpose of repossessing the same, and the Lesseespecifically waives any right of action it might otherwise have arising out of such entry and repossession, whereupon all rights of the Lessee inthe Equipment shall terminate immediately15. WAIVER Failure of either party at any time to require performance by the other party of any provision of this Agreement shall not affect inany way the full right to require such performance at any time in the future. The waiver of a breach or alleged breach of any provision of thisAgreement shall not construed or held to be a waiver of the provision itself or any other breach or alleged breach thereof.16. COLLECTION CHARGES Should the Lessee fail to pay when due any part of the rent herein reserved or any sum required to be paid toLessor, a late charge of Two Hundred Dollars U.S. ($200.00) for each month or part thereof for which said rent or other sum shall bedelinquent, plus interest on such delinquent payment from the due date thereof until paid at the rate of eighteen percent (18%) per annum.,with reasonable attorneys fees and costs.17. TIME OF THE ESSENCE Time is of the essence of this lease and each and all of its provisions.18. BINDING UPON HEIRS, EXECUTORS, SUCCESSORS AND ASSIGNS This lease shall ensure to the benefit of and be binding upon thesuccessors and assigns of the respective parties and heirs, executors and administrators.19. HEADINGS The insertion of headings in this lease is for convenience of reference only and shall not affect the interpretation thereof.20. INTERPRETATION It is hereby agreed by and between the parties hereto that whenever the context of this lease so requires, thesingular number shall include the plural and vice versa, and that words importing the masculine gender shall include the feminine and neutergenders, and that in case more than one lessee is named as Lessee, the liability of such lessees shall be joint and several.21. GOVERNING LAW This lease agreement shall be interpreted and enforced in accordance with the laws of the State of Florida. Venuefor the resolution of any dispute shall be in Brevard County, Florida at the Lessors sole discretion. The County or Circuit Court for the State ofFlorida in the county selected by Lessor shall have exclusive jurisdiction for resolution of the dispute regardless of the amount in controversyor the diversity of the parties.22. CREDIT INVESTIGATION The Lessee hereby consents to the Lessor conducting a credit check upon the Lessee subject to applicablelegislation.23. FACSIMILE OR ELECTRONIC SIGNATURES It is hereby agreed by both parties that facsimile or electronic signatures are acceptableand shall be deemed fully binding, including in any legal proceedings.24. In lieu of a signature, issuance of a purchase order will act as acceptance to all the terms and conditions set forth in this agreement. Date: Signature: Name/Title: Date: Signature: Name/Title: Client Company

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Rental Quote DATE September 12, 2016 109 16th St., Apt 3 Quotation # 160912 Brooklyn, NY 11215 Customer ID 296.01 603-489-9843 Bill To: Quotation valid until: October 7, 2016 DALTON HAMILTON Prepared by: Mike Billings SCHOOL OF THEATRE AND DANCE 687 MCCARTY DRIVE GAINESVILLE, FL 32603 Rental Start Date: Mon, Oct 17, 2016 Rental End Date: Mon, Nov 7, 2016 Comments or special instructions: MBD to provide shipping to FL and Packing Slips for Return Description AMOUNT 750.00 $ 193.00 193.00 TOTAL 1,136.00 $ If you have any questions concerning this quotation, contact Mike Billings, 603-489-9843 Please make check payable to: Mike Billings, 109 16th St., Apt 3, Brooklyn, NY 11963 (2) 10' Anderson Block > Edison/DMX/BNC Looms Shipping Cost from NY > FL Shipping Cost from FL > NY (2) SpotOp Remote Followspot Controllers + (1) Spare (2) IR Cameras w/ Zoom/Focus Lenses + (1) Spare (2) 100' BNC+DC Siamese Cables THANK YOU FOR YOUR BUSINESS!

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112 AP PENDIX H LIGHTWRIGHT PAPER

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113 CHANNEL HOOKUP

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CHANNEL HOOKUP Page 1 of 14 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (1) 1/27 Island 30 1 ETC S4 26¡ 575w L709+ R119 FR LT 1/14 Island 31 " " (2) 1/11 Island 32 1 ETC S4 26¡ 575w L709+ R119 FR LT (3) 1/7 Island 34 1 ETC S4 26¡ 575w L709+ R119 FR LT (4) 1/6 Island 35 1 ETC S4 26¡ 575w L709+ R119 FR LT (5) 1/3 Island 36 1 ETC S4 26¡ 575w L709+ R119 FR LT 1/1 Island 37 " " (6) 1/25 Island 22 1 ETC S4 26¡ 575w L709+ R119 FR LT Island 24 " " (7) 1/23 Island 25 1 ETC S4 26¡ 575w L709+ R119 FR LT (8) 1/35 Island 18 2 ETC S4 26¡ 575w L709+ R119 FR LT (9) 1/21 Island 26 1 ETC S4 26¡ 575w L709+ R119 FR LT (10) 1/19 Island 27 1 ETC S4 26¡ 575w L709+ R119 FR LT 1/18 Island 29 " " (11) 1/28 Island 16 3 ETC S4 26¡ 575w L709+ R119 FR LT 1/38 Island 17 2 " (12) 1/36 Island 18 1 ETC S4 26¡ 575w L709+ R119 FR LT University of Florida School of Thetare and Dance / (1) thru (12)

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CHANNEL HOOKUP Page 2 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (13) 1/33 Island 19 2 ETC S4 26¡ 575w L709+ R119 FR LT 1/32 Island 20 3 " (14) 1/53 Island 9 2 ETC S4 26¡ 575w L709+ R119 FR LT " 4 " (15) 1/52 Island 10 1 ETC S4 26¡ 575w L709+ R119 FR LT (16) 1/4 Island 12 5 ETC S4 26¡ 575w L709+ R119 FR LT 1/45 Island 13 3 " (21) 1/107 Island 10 3 ETC S4 36¡ 575w G101+ R119 SL HS (22) 1/108 Island 11 2 ETC S4 36¡ 575w G101+ R119 SL HS 1/20 Island 20 4 " (23) 1/31 Island 20 2 ETC S4 36¡ 575w G101+ R119 SL HS (24) 1/29 Island 21 2 ETC S4 36¡ 575w G101+ R119 SL HS " 3 " (25) 1/317 HR LADDER 5 ETC S4 36¡ 575w G101+ R119 SL HS (26) 1/112 Island 3 3 ETC S4 36¡ 575w G101+ R119 SL HS (27) 1/47 Island 4 6 ETC S4 36¡ 575w G101+ R119 SL HS Island 12 1 " (28) 1/90 Island 13 1 ETC S4 36¡ 575w G101+ R119 SL HS (29) 1/44 Island 14 1 ETC S4 36¡ 575w G101+ R119 SL HS " 2 " University of Florida School of Thetare and Dance / (13) thru (29)

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CHANNEL HOOKUP Page 3 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (30) 1/324 HR LADDER 3 ETC S4 36¡ 575w G101+ R119 SL HS (31) 1/63 Island 3 1 ETC S4 36¡ 575w G101+ R119 SL HS Island 4 " " (32) 1/72 AP PIPE 1 ETC S4 36¡ 575w G101+ R119 SL HS (33) 1/60 Island 6 1 ETC S4 36¡ 575w G101+ R119 SL HS " 4 " (34) 1/127 ELECTRIC 1 12 ETC S4 26¡ 575w G101+ R119 SL HS (35) 1/125 ELECTRIC 1 7 ETC S4 36¡ 575w G101+ R119 SL HS (36) 1/120 ELECTRIC 1 2 ETC S4 36¡ 575w G101+ R119 SL HS (37) 1/159 ELECTRIC 5 4 ETC S4 36¡ 575w G101+ R119 SL HS (38) 1/159 ELECTRIC 5 2 ETC S4 36¡ 575w G101+ R119 SL HS (41) 1/312 HL LADDER 5 ETC S4 36¡ 575w L711+ R119 SR HS (42) 1/9 Island 15 2 ETC S4 36¡ 575w L711+ R119 SR HS " 3 " (43) 1/12 Island 16 4 ETC S4 36¡ 575w L711+ R119 SR HS (44) 1/40 Island 16 2 ETC S4 36¡ 575w L711+ R119 SR HS (45) 1/50 Island 10 2 ETC S4 36¡ 575w L711+ R119 SR HS Island 11 3 " (46) 1/311 HL LADDER 3 ETC S4 36¡ 575w L711+ R119 SR HS University of Florida School of Thetare and Dance / (30) thru (46)

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CHANNEL HOOKUP Page 4 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (47) 1/57 Island 7 4 ETC S4 36¡ 575w L711+ R119 SR HS " 6 " (48) 1/110 Island 8 1 ETC S4 36¡ 575w L711+ R119 SR HS (49) 1/104 Island 9 1 ETC S4 36¡ 575w L711+ R119 SR HS (50) 1/66 Island 3 4 ETC S4 36¡ 575w L711+ R119 SR HS Island 4 5 " (51) 1/70 Island 1 1 ETC S4 36¡ 575w L711+ R119 SR HS " 2 " (52) 1/79 Island 2 1 ETC S4 36¡ 575w L711+ R119 SR HS (53) 1/64 Island 3 2 ETC S4 36¡ 575w L711+ R119 SR HS Island 4 " " (56) 1/152 ELECTRIC 1 21 ETC S4 36¡ 575w L711+ R119 SR HS (57) 1/133 ELECTRIC 1 18 ETC S4 36¡ 575w L711+ R119 SR HS (58) 1/130 ELECTRIC 1 15 ETC S4 26¡ 575w L711+ R119 SR HS (61) 1/39 Island 15 1 ETC S4 Par WFL 750w L162 DN LT Island 16 " " (62) 1/106 Island 11 4 ETC S4 Par WFL 750w L162 DN LT 1/37 Island 17 1 " 1/34 Island 19 " " University of Florida School of Thetare and Dance / (47) thru (62)

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CHANNEL HOOKUP Page 5 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (63) 1/89 Island 20 1 ETC S4 Par WFL 750w L162 DN LT Island 21 " " (64) 1/55 Island 2 2 ETC S4 Par WFL 750w L162 DN LT Island 7 3 " (65) 1/65 Island 3 5 ETC S4 Par WFL 750w L162 DN LT Island 4 4 " " SPAN PIPE 2 " (67) 1/61 Island 5 3 ETC S4 Par WFL 750w L162 DN LT Island 14 5 " (68) 1/87 AP PIPE 18 ETC S4 Par WFL 750w L162 DN LT " 22 " (69) 1/82 AP PIPE 13 ETC S4 Par WFL 750w L162 DN LT (70) 1/76 AP PIPE 3 ETC S4 Par WFL 750w L162 DN LT " 8 " (71) 1/132 ELECTRIC 1 17 ETC S4 Parnel 575w L162 DN LT " 20 " (72) 1/129 ELECTRIC 1 14 ETC S4 Parnel 575w L162 DN LT (73) 1/122 ELECTRIC 1 4 ETC S4 Parnel 575w L162 DN LT " 8 " (81) 1/56 Island 8 2 ETC S4 Parnel 575w L197 BK LT Island 9 5 " (82) 1/54 Island 9 3 ETC S4 Parnel 575w L197 BK LT 1/49 Island 11 6 " " Island 12 4 " University of Florida School of Thetare and Dance / (63) thru (82)

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CHANNEL HOOKUP Page 6 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (83) 1/46 Island 12 3 ETC S4 Parnel 575w L197 BK LT Island 13 2 " (84) 1/62 Island 5 2 ETC S4 Parnel 575w L197 BK LT Island 6 3 " (85) 1/77 Island 3 6 ETC S4 Parnel 575w L197 BK LT Island 4 3 " (87) 1/67 Island 2 3 ETC S4 Parnel 575w L197 BK LT Island 7 1 " (88) 1/131 ELECTRIC 1 16 ETC S4 Parnel 575w L197 BK LT " 19 " (89) 1/128 ELECTRIC 1 13 ETC S4 Parnel 575w L197 BK LT (90) 1/123 ELECTRIC 1 5 ETC S4 Parnel 575w L197 BK LT " 9 " (91) 1/135 ELECTRIC 4 4 ETC S4 Parnel 575w L197 BK LT " 5 " (92) 1/134 ELECTRIC 4 3 ETC S4 Parnel 575w L197 BK LT (93) 1/136 ELECTRIC 4 1 ETC S4 Parnel 575w L197 BK LT " 2 " (94) 1/154 ELECTRIC 6 6 ETC S4 Parnel 750w L197 BK LT (101) 1/41 HL LADDER 7 ETC S4 36¡ 575w G885 G680 SET TEXTURE (102) 1/305 HL LADDER 6 ETC S4 36¡ 575w G885 G680 SET TEXTURE (103) 1/318 HR LADDER 7 ETC S4 36¡ 575w G885 G680 SET TEXTURE (104) 1/323 HR LADDER 6 ETC S4 36¡ 575w G885 G680 SET TEXTURE (105) 1/137 ELECTRIC 4 6 ETC S4 50¡ 750w R4230 G611 SET TEXTURE " 7 " DOOR TEXTURE (106) 1/158 ELECTRIC 5 5 ETC S4 50¡ 750w R4230 G611 DOOR TEXTURE (107) 1/158 ELECTRIC 5 3 ETC S4 50¡ 750w R4230 G611 SET TEXTURE University of Florida School of Thetare and Dance / (83) thru (107)

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CHANNEL HOOKUP Page 7 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (111) 1/119 ELECTRIC 1 1 ETC S4 26¡ 575w L502 G635 TRUSS TEXTURE " 22 L791 " (113) 1/169 ELECTRIC 8 2 ETC S4 50¡ 750w L791 G864 TRUSS TEXTURE " 4 " " " 6 " " (114) 1/168 ELECTRIC 8 1 ETC S4 50¡ 750w G842 G864 TRUSS TEXTURE (121) 1/232 SR LATERAL PIPE 1 ETC S4 50¡ 750w R4215 G673 Texture for Wendela 1/233 3 " " (122) 1/231 SR LATERAL PIPE 2 Altman 12" Fres 2kW NC BK LT WENDELA (131) 1/181 ELECTRIC 9 5 ETC CS SPOT LT BLUE 50¡ 148w G885 G294 DROP TEXTURE (132) 1/180 ELECTRIC 9 3 ETC CS SPOT LT BLUE 50¡ 148w G885 G294 DROP TEXTURE (133) 1/178 ELECTRIC 9 6 ETC CS SPOT Deep Blue 50¡ 148w G885 G630 DROP TEXTURE (134) 1/179 ELECTRIC 9 4 ETC CS SPOT Deep Blue 50¡ 148w G885 G630 DROP TEXTURE (141) 1/78 Island 1 3 ETC S4 26¡ 575w NC G799 WINDOW GOBO A1/S4 (142) 1/68 Island 2 4 ETC S4 26¡ 575w NC G614 WINDOW GOBO (201) 1/26 Island 9 6 ETC S4 19¡ 575w L709+ R119 FR LT (202) 1/230 BOOM-BOX 2 3 ETC S4 26¡ 575w NC SIDE LT (203) 1/69 Island 1 4 ETC S4 Parnel 750w L162 DN LT (204) 1/228 SET-BOX 2 1 Altman 3" Fresnel 150w R3202 FACE LT " 2 " (205) 1/229 SET-BOX 1 4 STICK UP 100w R3202 GENERAL LT (206) 1/48 Island 12 2 ETC S4 26¡ 575w L709+ R119 FR LT University of Florida School of Thetare and Dance / (111) thru (206)

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CHANNEL HOOKUP Page 8 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (207) 1/206 BOOM-BOX 1 1 ETC S4 26¡ 575w NC SIDE LT (208) 1/73 Island 6 2 ETC S4 Parnel 750w L162 DN LT (209) 1/204 SET-BOX 1 2 Altman 3" Fresnel 150w R3202 FACE LT " 3 " (210) 1/205 SET-BOX 2 4 STICK UP 100w R3202 GENERAL LT (301) 1/124 ELECTRIC 1 6 ETC S4 26¡ 575w L709+ R119 FR LT (302) 1/126 ELECTRIC 1 10 ETC S4 26¡ 575w L709+ R119 FR LT (303) 1/157 ELECTRIC 5 6 ETC S4 Parnel 750w L197 DN LT " 7 " (308) 1/172 ELECTRIC 8 7 ETC S4 Parnel 750w L197 DN LT (311) 1/121 ELECTRIC 1 3 ETC S4 26¡ 575w L709+ R119 FR LT " 11 " (312) 1/156 ELECTRIC 5 1 ETC S4 Parnel 750w L197 DN LT (313) 1/24 BOH 3 ETC S4 5¡ 575w NC G583 WINDOW GOBO (321) 1/117 SR BOOM 2 ETC S4 36¡ 575w Scroller 2.1 Forrunner 7.5" 480w Scroll 5 SCROLLER 1/117 4 ETC S4 50¡ 750w Scroller 4.1 Forrunner 7.5" 480w Scroll 5 SCROLLER (322) SR BOOM 2.1 Forrunner 7.5" 480w Scroll 5 SCROLLER 4.1 " 1/92 SL BOOM 2 ETC S4 36¡ 575w Scroller " 4 ETC S4 50¡ 750w SCROLLS: 5. Scroll 5: R-00, A-6100, A-7050, A-2120, A-7800, A-8400, A-8600, A-8650, A-3250, R-57, A-2030, A-2010, A-4450, A4250, A-5600, A-5400 University of Florida School of Thetare and Dance / (207) thru (322)

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CHANNEL HOOKUP Page 9 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (323) 1/306 HL LADDER 1 ETC S4 36¡ 575w G888 G864 TEXTURE " 2 " " (324) 1/17 HR LADDER 1 ETC S4 36¡ 575w G888 G641 TEXTURE " 2 " " (331) 1/113 SR BOOM 1 ETC S4 36¡ 575w Scroller SIDE LT 1.1 Forrunner 7.5" 480w Scroll 6 SCROLLER 1/113 3 ETC S4 50¡ 750w Scroller SIDE LT 3.1 Forrunner 7.5" 480w Scroll 6 SCROLLER (332) 1/91 SL BOOM 1 ETC S4 36¡ 575w Scroller SIDE LT 1.1 Forrunner 7.5" 480w Scroll 6 SCROLLER 1/91 3 ETC S4 50¡ 750w Scroller SIDE LT 3.1 Forrunner 7.5" 480w Scroll 6 SCROLLER (401) Hp SR CALIPHER FLOOR 1 Martin Mac Viper Performance 1kW NC MOVER (402) Hp SL CALIPHER FLOOR 1 Martin Mac Viper Performance 1kW NC MOVER (403) Hp SR DECK 1 Martin Mac Viper Performance 1kW NC MOVER (404) Hp SL DECK 1 Martin Mac Viper Performance 1kW NC MOVER (405) Hp ELECTRIC 2 3 Martin Mac Viper Performance 1kW NC MOVER (406) Hp ELECTRIC 2 2 Martin Mac Viper Performance 1kW NC MOVER (407) Hp ELECTRIC 2 1 Martin Mac Viper Performance 1kW NC MOVER (408) Hp ELECTRIC 7 3 Martin Mac Viper Performance 1kW NC MOVER SCROLLS: 6. Scroll 6: R-00, L-765, G-325, L-285, L-776, G-235, R-4830, L-701, L-709, G-872, L-281, L-161, G-841, L-715, L-728 University of Florida School of Thetare and Dance / (323) thru (408)

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CHANNEL HOOKUP Page 10 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (409) Hp ELECTRIC 7 2 Martin Mac Viper Performance 1kW NC MOVER (410) Hp ELECTRIC 8 8 Vari-lite 3000 SP 1.2kW NC PLATFORM 1 TEXTURE (411) Hp ELECTRIC 7 1 Vari-lite 3000 SP 1.2kW NC PLATFORM 2 TEXTURE (412) Hp ELECTRIC 12 1 Vari-lite 1100AI 575w NC Cyc Texture (413) Hp ELECTRIC 12 2 Vari-lite 1100AS 575w NC Cyc Texture (415) Hp ST FLOOR USC 5 Martin Mac Viper Performance 1kW NC DEEP BLUE 4 CYC (417) Hp SL LATERAL PIPE 1 ETC CS SPOT Deep Blue 50¡ 148w NC TREE LT (421) Hp TRAP IN SET 1 LED RGBW 8B 24w NC GRAVE LED (422) Hp ST FLOOR 2 FQ-100 Fogger 1.5kW NC GRAVE EFFECT (423) Hp ST FLOOR 1 F-100 Fogger 2w NC FOGGER (501) 1/103 HL TAILDOWN 1 Par 64 VNSP 1kW L201 ROCK LTS (502) 1/114 HL TAILDOWN 2 Par 64 VNSP 1kW L201 ROCK LTS " 4 " (503) 1/116 HL TAILDOWN 3 Par 64 VNSP 1kW L201 ROCK LTS " 5 " (504) 1/96 HR TAILDOWN 1 Par 64 VNSP 1kW L201 ROCK LTS (505) 1/93 HR TAILDOWN 2 Par 64 VNSP 1kW L201 ROCK LTS " 4 " University of Florida School of Thetare and Dance / (409) thru (505)

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CHANNEL HOOKUP Page 11 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (506) 1/97 HR TAILDOWN 3 Par 64 VNSP 1kW L201 ROCK LTS " 5 " (511) 1/101 SR BOOM 1 Par 64 VNSP 1kW L201 ROCK LTS (512) 1/115 SR BOOM 2 Par 64 VNSP 1kW L201 ROCK LTS " 4 " (513) 1/102 SR BOOM 3 Par 64 VNSP 1kW L201 ROCK LTS " 5 " (514) 1/98 SL BOOM 1 Par 64 VNSP 1kW L201 ROCK LTS (515) 1/100 SL BOOM 2 Par 64 VNSP 1kW L201 ROCK LTS " 4 " (516) 1/94 SL BOOM 3 Par 64 VNSP 1kW L201 ROCK LTS " 5 " (521) 1/86 AP PIPE 21 Par 64 VNSP 1kW L201 ROCK LTS (522) 1/85 AP PIPE 16 Par 64 VNSP 1kW L201 ROCK LTS " 19 " (523) 1/81 AP PIPE 10 Par 64 VNSP 1kW L201 ROCK LTS " 14 " (524) 1/75 AP PIPE 4 Par 64 VNSP 1kW L201 ROCK LTS " 7 " (531) 1/144 ELECTRIC 3 11 Par 64 VNSP 1kW L203 ROCK LTS " 13 " (532) 1/143 ELECTRIC 3 5 Par 64 VNSP 1kW L203 ROCK LTS " 9 " (533) 1/140 ELECTRIC 3 7 Par 64 VNSP 1kW L203 ROCK LTS (534) 1/138 ELECTRIC 3 1 Par 64 VNSP 1kW L203 ROCK LTS " 3 " (601) 1/42 HL LADDER 4 Par 64 MFL 1kW L705 DN WASH " 8 " University of Florida School of Thetare and Dance / (506) thru (601)

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CHANNEL HOOKUP Page 12 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (602) 1/30 HR LADDER 4 Par 64 MFL 1kW L705 DN WASH " 8 " (603) 1/88 AP PIPE 20 Par 64 MFL 1kW L705 DN WASH " 23 " (604) 1/83 AP PIPE 15 Par 64 MFL 1kW L705 DN WASH " 17 " (605) 1/80 AP PIPE 9 Par 64 MFL 1kW L705 DN WASH " 12 " (606) 1/74 AP PIPE 2 Par 64 MFL 1kW L705 DN WASH " 5 " (607) 1/145 ELECTRIC 3 12 Par 64 MFL 1kW L705 DN WASH " 14 " (608) 1/141 ELECTRIC 3 6 Par 64 MFL 1kW L705 DN WASH " 10 " (609) 1/142 ELECTRIC 3 8 Par 64 MFL 1kW L705 DN WASH (610) 1/139 ELECTRIC 3 2 Par 64 MFL 1kW L705 DN WASH " 4 " (611) 1/160 ELECTRIC 6 5 Par 64 MFL 1kW L705 DN WASH " 7 " (612) 1/155 ELECTRIC 6 3 Par 64 MFL 1kW L705 DN WASH " 4 " (613) 1/153 ELECTRIC 6 1 Par 64 MFL 1kW L705 DN WASH " 2 " (701) 1/171 ELECTRIC 8 5 ETC S4 19¡ 575w L709+ R119 FR LT (702) 1/174 ELECTRIC 10 1 ETC S4 19¡ 575w R4915 HEAVEN LT 1/173 2 " (703) 1/176 ELECTRIC 11 1 Par 64 NSP 1kW R3202 BK LT 1/175 3 " University of Florida School of Thetare and Dance / (602) thru (703)

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CHANNEL HOOKUP Page 13 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (704) 1/177 ELECTRIC 11 2 Par 64 NSP 1kW R3202 BK LT (901) 1/247 ST FLOOR 1 Altman 520 Strip Cell 500w R348 DROP COLOR (902) 1/243 ST FLOOR 3 Altman 520 Strip Cell 500w A5700 DROP COLOR (903) 1/219 ST FLOOR 3 Altman 520 Strip Cell 500w A7600 DROP COLOR (904) 1/248 ST FLOOR 3 Altman 520 Strip Cell 500w L716 DROP COLOR (921) 1/191 ELECTRIC 13 1 Berkey Colortran Cyc Lts 1kW L777 CYC COLOR 1/189 " " (922) 1/186 ELECTRIC 13 2 Berkey Colortran Cyc Lts 1kW R44 CYC COLOR (923) 1/187 ELECTRIC 13 3 Berkey Colortran Cyc Lts 1kW R48 CYC COLOR (924) 1/197 ELECTRIC 14 1 Berkey Colortran Cyc Lts 1kW R376 CYC COLOR (925) 1/198 ELECTRIC 14 2 Berkey Colortran Cyc Lts 1kW R125 CYC COLOR (926) 1/199 ELECTRIC 14 3 Berkey Colortran Cyc Lts 1kW R370+L116 CYC COLOR (951) 1/13 HL ROH PIPE 6 ETC S4 19¡ 575w NC SPECIAL (952) 1/16 HL ROH PIPE 5 ETC S4 19¡ 575w NC SPECIAL (953) 1/310 HL ROH PIPE 4 ETC S4 19¡ 575w NC SPECIAL (954) 1/309 HL ROH PIPE 3 ETC S4 19¡ 575w NC SPECIAL (955) 1/304 HL ROH PIPE 2 ETC S4 19¡ 575w NC SPECIAL (956) 1/303 HL ROH PIPE 1 ETC S4 19¡ 575w NC R55007 SPECIAL (961) 1/321 HR ROH PIPE 1 ETC S4 19¡ 575w NC SPECIAL (962) 1/315 HR ROH PIPE 2 ETC S4 19¡ 575w NC SPECIAL (963) 1/22 HR ROH PIPE 3 ETC S4 19¡ 575w NC SPECIAL (964) 1/43 HR ROH PIPE 4 ETC S4 19¡ 575w NC SPECIAL University of Florida School of Thetare and Dance / (704) thru (964)

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CHANNEL HOOKUP Page 14 of 14 4/2/17 SPRING AWAKENING CHAN DIM POSITION U INST TYPE & COLOR GOBO PURPOSE (965) 1/316 HR ROH PIPE 5 ETC S4 19¡ 575w NC SPECIAL (966) 1/322 HR ROH PIPE 6 ETC S4 19¡ 575w NC SPECIAL (1001) 1/109 Island 11 5 ETC S4 50¡ 750w R3203 + R132 CROSS LT SPAN PIPE 1 " (1002) 1/51 Island 10 4 ETC S4 50¡ 750w R3203 + R132 CROSS LT Island 11 1 " (1011) 1/15 HL BOX BOOM 1 ETC S4 26¡ 575w L709+ R119 BOX 1 BOOST (1012) 1/308 HL BOX BOOM 2 ETC S4 26¡ 575w NC SPECIAL (1013) 1/307 HL BOX BOOM 3 ETC S4 26¡ 575w NC SPECIAL (1014) 1/302 HL BOX BOOM 4 ETC S4 26¡ 575w NC SPECIAL (1015) 1/301 HL BOX BOOM 5 ETC S4 36¡ 575w NC SPECIAL (1016) 1/320 HR BOX BOOM 1 ETC S4 36¡ 575w NC SPECIAL (1017) 1/319 HR BOX BOOM 2 ETC S4 26¡ 575w NC SPECIAL (1018) 1/314 HR BOX BOOM 3 ETC S4 26¡ 575w NC SPECIAL (1019) 1/313 HR BOX BOOM 4 ETC S4 26¡ 575w NC SPECIAL (1020) 1/2 HR BOX BOOM 5 ETC S4 26¡ 575w NC SPECIAL (3001) 1/5 Island 24 2 14" Scoop 1kW NC WORK LIGHTS Island 36 " " University of Florida School of Thetare and Dance / (965) thru (3001)

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127 INSTRUMENT SCHEDULE

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INSTRUMENT SCHEDULE 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell TABLE OF CONTENTS Island 1 ....................................................... 1 Island 36 ..................................................... 10 Island 2 ....................................................... 1 Island 37 ..................................................... 10 Island 3 ....................................................... 2 SPAN PIPE ............................................... 10 Island 4 ....................................................... 2 SR BOOM ................................................. 11 Island 5 ....................................................... 2 SL BOOM ................................................. 12 Island 6 ....................................................... 3 HL LADDER ........................................... 13 Island 7 ....................................................... 3 HR LADDER ........................................... 13 Island 8 ....................................................... 3 HL TAILDOWN ..................................... 14 Island 9 ....................................................... 4 HR TAILDOWN ..................................... 14 Island 10 ..................................................... 4 HL BOX BOOM ..................................... 14 Island 11 ..................................................... 5 HR BOX BOOM ..................................... 15 Island 12 ..................................................... 5 AP PIPE .................................................... 16 Island 13 ..................................................... 6 ELECTRIC 1 ............................................ 17 Island 14 ..................................................... 6 ELECTRIC 2 ............................................ 18 Island 15 ..................................................... 6 ELECTRIC 3 ............................................ 19 Island 16 ..................................................... 7 ELECTRIC 4 ............................................ 19 Island 17 ..................................................... 7 ELECTRIC 5 ............................................ 20 Island 18 ..................................................... 7 ELECTRIC 6 ............................................ 20 Island 19 ..................................................... 7 ELECTRIC 7 ............................................ 21 Island 20 ..................................................... 8 ELECTRIC 8 ............................................ 21 Island 21 ..................................................... 8 ELECTRIC 9 ............................................ 21 Island 22 ..................................................... 8 ELECTRIC 10 .......................................... 22 Island 24 ..................................................... 8 ELECTRIC 11 .......................................... 22 Island 25 ..................................................... 9 ELECTRIC 12 .......................................... 22 Island 26 ..................................................... 9 ELECTRIC 13 .......................................... 22 Island 27 ..................................................... 9 ELECTRIC 14 .......................................... 23 Island 29 ..................................................... 9 SL LATERAL PIPE ................................ 23 Island 30 ..................................................... 9 SR LATERAL PIPE ................................ 23 Island 31 ..................................................... 9 HL ROH PIPE ......................................... 23 Island 32 ..................................................... 10 HR ROH PIPE ......................................... 24 Island 34 ..................................................... 10 BOH ........................................................... 24 Island 35 ..................................................... 10 BOOM-BOX 1 ......................................... 24 SET-BOX 1 ............................................... 24

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INSTRUMENT SCHEDULE 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell TABLE OF CONTENTS BOOM-BOX 2 ......................................... 24 SL DECK .................................................. 25 SET-BOX 2 ............................................... 25 SR DECK .................................................. 25 SL CALIPHER FLOOR ........................ 25 ST FLOOR ............................................... 26 SR CALIPHER FLOOR ........................ 25 ST FLOOR USC ...................................... 26 TRAP IN SET .......................................... 26

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INSTRUMENT SCHEDULE Page 1 of 26 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell Island 1 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SR HS ETC S4 36¡ 575w L711+ R119 (51) 1/70 2 SR HS ETC S4 36¡ 575w L711+ R119 (51) 1/70 3 WINDOW GOBO A1/S4 ETC S4 26¡ 575w NC G799 (141) 1/78 4 DN LT ETC S4 Parnel 750w L162 (203) 1/69 Island 2 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SR HS ETC S4 36¡ 575w L711+ R119 (52) 1/79 2 DN LT ETC S4 Par WFL 750w L162 (64) 1/55 3 BK LT ETC S4 Parnel 575w L197 (87) 1/67 4 WINDOW GOBO ETC S4 26¡ 575w NC G614 (142) 1/68 University of Florida School of Thetare and Dance Island 1 thru Island 2

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INSTRUMENT SCHEDULE Page 2 of 26 4/2/17 SPRING AWAKENING Island 3 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (31) 1/63 2 SR HS ETC S4 36¡ 575w L711+ R119 (53) 1/64 3 SL HS ETC S4 36¡ 575w G101+ R119 (26) 1/112 4 SR HS ETC S4 36¡ 575w L711+ R119 (50) 1/66 5 DN LT ETC S4 Par WFL 750w L162 (65) 1/65 6 BK LT ETC S4 Parnel 575w L197 (85) 1/77 Island 4 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (31) 1/63 2 SR HS ETC S4 36¡ 575w L711+ R119 (53) 1/64 3 BK LT ETC S4 Parnel 575w L197 (85) 1/77 4 DN LT ETC S4 Par WFL 750w L162 (65) 1/65 5 SR HS ETC S4 36¡ 575w L711+ R119 (50) 1/66 6 SL HS ETC S4 36¡ 575w G101+ R119 (27) 1/47 Island 5 U# Purpose Inst Type & Watt Color Gobo Chan Dim 2 BK LT ETC S4 Parnel 575w L197 (84) 1/62 3 DN LT ETC S4 Par WFL 750w L162 (67) 1/61 University of Florida School of Thetare and Dance Island 3 thru Island 5

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INSTRUMENT SCHEDULE Page 3 of 26 4/2/17 SPRING AWAKENING Island 6 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (33) 1/60 2 DN LT ETC S4 Parnel 750w L162 (208) 1/73 3 BK LT ETC S4 Parnel 575w L197 (84) 1/62 4 SL HS ETC S4 36¡ 575w G101+ R119 (33) 1/60 Island 7 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 BK LT ETC S4 Parnel 575w L197 (87) 1/67 3 DN LT ETC S4 Par WFL 750w L162 (64) 1/55 4 SR HS ETC S4 36¡ 575w L711+ R119 (47) 1/57 6 SR HS ETC S4 36¡ 575w L711+ R119 (47) 1/57 Island 8 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SR HS ETC S4 36¡ 575w L711+ R119 (48) 1/110 2 BK LT ETC S4 Parnel 575w L197 (81) 1/56 University of Florida School of Thetare and Dance Island 6 thru Island 8

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INSTRUMENT SCHEDULE Page 4 of 26 4/2/17 SPRING AWAKENING Island 9 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SR HS ETC S4 36¡ 575w L711+ R119 (49) 1/104 2 FR LT ETC S4 26¡ 575w L709+ R119 (14) 1/53 3 BK LT ETC S4 Parnel 575w L197 (82) 1/54 4 FR LT ETC S4 26¡ 575w L709+ R119 (14) 1/53 5 BK LT ETC S4 Parnel 575w L197 (81) 1/56 6 FR LT ETC S4 19¡ 575w L709+ R119 (201) 1/26 Island 10 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (15) 1/52 2 SR HS ETC S4 36¡ 575w L711+ R119 (45) 1/50 3 SL HS ETC S4 36¡ 575w G101+ R119 (21) 1/107 4 CROSS LT ETC S4 50¡ 750w R3203 + R132 (1002) 1/51 University of Florida School of Thetare and Dance Island 9 thru Island 10

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INSTRUMENT SCHEDULE Page 5 of 26 4/2/17 SPRING AWAKENING Island 11 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 CROSS LT ETC S4 50¡ 750w R3203 + R132 (1002) 1/51 2 SL HS ETC S4 36¡ 575w G101+ R119 (22) 1/108 3 SR HS ETC S4 36¡ 575w L711+ R119 (45) 1/50 4 DN LT ETC S4 Par WFL 750w L162 (62) 1/106 5 CROSS LT ETC S4 50¡ 750w R3203 + R132 (1001) 1/109 6 BK LT ETC S4 Parnel 575w L197 (82) 1/49 Island 12 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (27) 1/47 2 FR LT ETC S4 26¡ 575w L709+ R119 (206) 1/48 3 BK LT ETC S4 Parnel 575w L197 (83) 1/46 4 BK LT ETC S4 Parnel 575w L197 (82) 1/49 5 FR LT ETC S4 26¡ 575w L709+ R119 (16) 1/4 University of Florida School of Thetare and Dance Island 11 thru Island 12

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INSTRUMENT SCHEDULE Page 6 of 26 4/2/17 SPRING AWAKENING Island 13 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (28) 1/90 2 BK LT ETC S4 Parnel 575w L197 (83) 1/46 3 FR LT ETC S4 26¡ 575w L709+ R119 (16) 1/45 Island 14 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (29) 1/44 2 SL HS ETC S4 36¡ 575w G101+ R119 (29) 1/44 5 DN LT ETC S4 Par WFL 750w L162 (67) 1/61 Island 15 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (61) 1/39 2 SR HS ETC S4 36¡ 575w L711+ R119 (42) 1/9 3 SR HS ETC S4 36¡ 575w L711+ R119 (42) 1/9 University of Florida School of Thetare and Dance Island 13 thru Island 15

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INSTRUMENT SCHEDULE Page 7 of 26 4/2/17 SPRING AWAKENING Island 16 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (61) 1/39 2 SR HS ETC S4 36¡ 575w L711+ R119 (44) 1/40 3 FR LT ETC S4 26¡ 575w L709+ R119 (11) 1/28 4 SR HS ETC S4 36¡ 575w L711+ R119 (43) 1/12 Island 17 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (62) 1/37 2 FR LT ETC S4 26¡ 575w L709+ R119 (11) 1/38 Island 18 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (12) 1/36 2 FR LT ETC S4 26¡ 575w L709+ R119 (8) 1/35 Island 19 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (62) 1/34 2 FR LT ETC S4 26¡ 575w L709+ R119 (13) 1/33 University of Florida School of Thetare and Dance Island 16 thru Island 19

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INSTRUMENT SCHEDULE Page 8 of 26 4/2/17 SPRING AWAKENING Island 20 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (63) 1/89 2 SL HS ETC S4 36¡ 575w G101+ R119 (23) 1/31 3 FR LT ETC S4 26¡ 575w L709+ R119 (13) 1/32 4 SL HS ETC S4 36¡ 575w G101+ R119 (22) 1/20 Island 21 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Par WFL 750w L162 (63) 1/89 2 SL HS ETC S4 36¡ 575w G101+ R119 (24) 1/29 3 SL HS ETC S4 36¡ 575w G101+ R119 (24) 1/29 Island 22 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (6) 1/25 Island 24 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (6) 1/25 2 WORK LIGHTS 14" Scoop 1kW NC (3001) 1/5 University of Florida School of Thetare and Dance Island 20 thru Island 24

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INSTRUMENT SCHEDULE Page 9 of 26 4/2/17 SPRING AWAKENING Island 25 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (7) 1/23 Island 26 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (9) 1/21 Island 27 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (10) 1/19 Island 29 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (10) 1/18 Island 30 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (1) 1/27 Island 31 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (1) 1/14 University of Florida School of Thetare and Dance Island 25 thru Island 31

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INSTRUMENT SCHEDULE Page 10 of 26 4/2/17 SPRING AWAKENING Island 32 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (2) 1/11 Island 34 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (3) 1/7 Island 35 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (4) 1/6 Island 36 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (5) 1/3 2 WORK LIGHTS 14" Scoop 1kW NC (3001) 1/5 Island 37 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FR LT ETC S4 26¡ 575w L709+ R119 (5) 1/1 SPAN PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 CROSS LT ETC S4 50¡ 750w R3203 + R132 (1001) 1/109 2 DN LT ETC S4 Par WFL 750w L162 (65) 1/65 University of Florida School of Thetare and Dance Island 32 thru SPAN PIPE

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INSTRUMENT SCHEDULE Page 11 of 26 4/2/17 SPRING AWAKENING SR BOOM U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SIDE LT ETC S4 36¡ 575w Scroller (331) 1/113 1 ROCK LTS Par 64 VNSP 1kW L201 (511) 1/101 1.1 SCROLLER Forrunner 7.5" 480w Scroll 6 (331) 2 ETC S4 36¡ 575w Scroller (321) 1/117 2 ROCK LTS Par 64 VNSP 1kW L201 (512) 1/115 2.1 SCROLLER Forrunner 7.5" 480w Scroll 5 (321) 2.1 SCROLLER Forrunner 7.5" 480w Scroll 5 (322) 3 SIDE LT ETC S4 50¡ 750w Scroller (331) 1/113 3 ROCK LTS Par 64 VNSP 1kW L201 (513) 1/102 3.1 SCROLLER Forrunner 7.5" 480w Scroll 6 (331) 4 ETC S4 50¡ 750w Scroller (321) 1/117 4 ROCK LTS Par 64 VNSP 1kW L201 (512) 1/115 4.1 SCROLLER Forrunner 7.5" 480w Scroll 5 (321) 4.1 SCROLLER Forrunner 7.5" 480w Scroll 5 (322) 5 ROCK LTS Par 64 VNSP 1kW L201 (513) 1/102 SCROLLS: 5. Scroll 5: R-00, A-6100, A-7050, A-2120, A-7800, A-8400, A-8600, A-8650, A-3250, R-57, A-2030, A-2010, A-4450, A-4250, A-5600, A-5400 6. Scroll 6: R-00, L-765, G-325, L-285, L-776, G-235, R-4830, L-701, L-709, G-872, L-281, L-161, G-841, L-715, L-728 University of Florida School of Thetare and Dance SR BOOM

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INSTRUMENT SCHEDULE Page 12 of 26 4/2/17 SPRING AWAKENING SL BOOM U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SIDE LT ETC S4 36¡ 575w Scroller (332) 1/91 1 ROCK LTS Par 64 VNSP 1kW L201 (514) 1/98 1.1 SCROLLER Forrunner 7.5" 480w Scroll 6 (332) 2 ETC S4 36¡ 575w Scroller (322) 1/92 2 ROCK LTS Par 64 VNSP 1kW L201 (515) 1/100 3 SIDE LT ETC S4 50¡ 750w Scroller (332) 1/91 3 ROCK LTS Par 64 VNSP 1kW L201 (516) 1/94 3.1 SCROLLER Forrunner 7.5" 480w Scroll 6 (332) 4 ETC S4 50¡ 750w Scroller (322) 1/92 4 ROCK LTS Par 64 VNSP 1kW L201 (515) 1/100 5 ROCK LTS Par 64 VNSP 1kW L201 (516) 1/94 SCROLLS: 6. Scroll 6: R-00, L-765, G-325, L-285, L-776, G-235, R-4830, L-701, L-709, G-872, L-281, L-161, G-841, L-715, L-728 University of Florida School of Thetare and Dance SL BOOM

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INSTRUMENT SCHEDULE Page 13 of 26 4/2/17 SPRING AWAKENING HL LADDER U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 TEXTURE ETC S4 36¡ 575w G888 G864 (323) 1/306 2 TEXTURE ETC S4 36¡ 575w G888 G864 (323) 1/306 3 SR HS ETC S4 36¡ 575w L711+ R119 (46) 1/311 4 DN WASH Par 64 MFL 1kW L705 (601) 1/42 5 SR HS ETC S4 36¡ 575w L711+ R119 (41) 1/312 6 SET TEXTURE ETC S4 36¡ 575w G885 G680 (102) 1/305 7 SET TEXTURE ETC S4 36¡ 575w G885 G680 (101) 1/41 8 DN WASH Par 64 MFL 1kW L705 (601) 1/42 HR LADDER U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 TEXTURE ETC S4 36¡ 575w G888 G641 (324) 1/17 2 TEXTURE ETC S4 36¡ 575w G888 G641 (324) 1/17 3 SL HS ETC S4 36¡ 575w G101+ R119 (30) 1/324 4 DN WASH Par 64 MFL 1kW L705 (602) 1/30 5 SL HS ETC S4 36¡ 575w G101+ R119 (25) 1/317 6 SET TEXTURE ETC S4 36¡ 575w G885 G680 (104) 1/323 7 SET TEXTURE ETC S4 36¡ 575w G885 G680 (103) 1/318 8 DN WASH Par 64 MFL 1kW L705 (602) 1/30 University of Florida School of Thetare and Dance HL LADDER thru HR LADDER

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INSTRUMENT SCHEDULE Page 14 of 26 4/2/17 SPRING AWAKENING HL TAILDOWN U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 ROCK LTS Par 64 VNSP 1kW L201 (501) 1/103 2 ROCK LTS Par 64 VNSP 1kW L201 (502) 1/114 3 ROCK LTS Par 64 VNSP 1kW L201 (503) 1/116 4 ROCK LTS Par 64 VNSP 1kW L201 (502) 1/114 5 ROCK LTS Par 64 VNSP 1kW L201 (503) 1/116 HR TAILDOWN U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 ROCK LTS Par 64 VNSP 1kW L201 (504) 1/96 2 ROCK LTS Par 64 VNSP 1kW L201 (505) 1/93 3 ROCK LTS Par 64 VNSP 1kW L201 (506) 1/97 4 ROCK LTS Par 64 VNSP 1kW L201 (505) 1/93 5 ROCK LTS Par 64 VNSP 1kW L201 (506) 1/97 HL BOX BOOM U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 BOX 1 BOOST ETC S4 26¡ 575w L709+ R119 (1011) 1/15 2 SPECIAL ETC S4 26¡ 575w NC (1012) 1/308 3 SPECIAL ETC S4 26¡ 575w NC (1013) 1/307 4 SPECIAL ETC S4 26¡ 575w NC (1014) 1/302 5 SPECIAL ETC S4 36¡ 575w NC (1015) 1/301 University of Florida School of Thetare and Dance HL TAILDOWN thru HL BOX BOOM

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INSTRUMENT SCHEDULE Page 15 of 26 4/2/17 SPRING AWAKENING HR BOX BOOM U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SPECIAL ETC S4 36¡ 575w NC (1016) 1/320 2 SPECIAL ETC S4 26¡ 575w NC (1017) 1/319 3 SPECIAL ETC S4 26¡ 575w NC (1018) 1/314 4 SPECIAL ETC S4 26¡ 575w NC (1019) 1/313 5 SPECIAL ETC S4 26¡ 575w NC (1020) 1/2 University of Florida School of Thetare and Dance HR BOX BOOM

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INSTRUMENT SCHEDULE Page 16 of 26 4/2/17 SPRING AWAKENING AP PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SL HS ETC S4 36¡ 575w G101+ R119 (32) 1/72 2 DN WASH Par 64 MFL 1kW L705 (606) 1/74 3 DN LT ETC S4 Par WFL 750w L162 (70) 1/76 4 ROCK LTS Par 64 VNSP 1kW L201 (524) 1/75 5 DN WASH Par 64 MFL 1kW L705 (606) 1/74 7 ROCK LTS Par 64 VNSP 1kW L201 (524) 1/75 8 DN LT ETC S4 Par WFL 750w L162 (70) 1/76 9 DN WASH Par 64 MFL 1kW L705 (605) 1/80 10 ROCK LTS Par 64 VNSP 1kW L201 (523) 1/81 12 DN WASH Par 64 MFL 1kW L705 (605) 1/80 13 DN LT ETC S4 Par WFL 750w L162 (69) 1/82 14 ROCK LTS Par 64 VNSP 1kW L201 (523) 1/81 15 DN WASH Par 64 MFL 1kW L705 (604) 1/83 16 ROCK LTS Par 64 VNSP 1kW L201 (522) 1/85 17 DN WASH Par 64 MFL 1kW L705 (604) 1/83 18 DN LT ETC S4 Par WFL 750w L162 (68) 1/87 19 ROCK LTS Par 64 VNSP 1kW L201 (522) 1/85 20 DN WASH Par 64 MFL 1kW L705 (603) 1/88 21 ROCK LTS Par 64 VNSP 1kW L201 (521) 1/86 22 DN LT ETC S4 Par WFL 750w L162 (68) 1/87 23 DN WASH Par 64 MFL 1kW L705 (603) 1/88 University of Florida School of Thetare and Dance AP PIPE

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INSTRUMENT SCHEDULE Page 17 of 26 4/2/17 SPRING AWAKENING ELECTRIC 1 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 TRUSS TEXTURE ETC S4 26¡ 575w L502 G635 (111) 1/119 2 SL HS ETC S4 36¡ 575w G101+ R119 (36) 1/120 3 FR LT ETC S4 26¡ 575w L709+ R119 (311) 1/121 4 DN LT ETC S4 Parnel 575w L162 (73) 1/122 5 BK LT ETC S4 Parnel 575w L197 (90) 1/123 6 FR LT ETC S4 26¡ 575w L709+ R119 (301) 1/124 7 SL HS ETC S4 36¡ 575w G101+ R119 (35) 1/125 8 DN LT ETC S4 Parnel 575w L162 (73) 1/122 9 BK LT ETC S4 Parnel 575w L197 (90) 1/123 10 FR LT ETC S4 26¡ 575w L709+ R119 (302) 1/126 11 FR LT ETC S4 26¡ 575w L709+ R119 (311) 1/121 12 SL HS ETC S4 26¡ 575w G101+ R119 (34) 1/127 13 BK LT ETC S4 Parnel 575w L197 (89) 1/128 14 DN LT ETC S4 Parnel 575w L162 (72) 1/129 15 SR HS ETC S4 26¡ 575w L711+ R119 (58) 1/130 16 BK LT ETC S4 Parnel 575w L197 (88) 1/131 17 DN LT ETC S4 Parnel 575w L162 (71) 1/132 18 SR HS ETC S4 36¡ 575w L711+ R119 (57) 1/133 University of Florida School of Thetare and Dance ELECTRIC 1

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INSTRUMENT SCHEDULE Page 18 of 26 4/2/17 SPRING AWAKENING ELECTRIC 1 U# Purpose Inst Type & Watt Color Gobo Chan Dim 19 BK LT ETC S4 Parnel 575w L197 (88) 1/131 20 DN LT ETC S4 Parnel 575w L162 (71) 1/132 21 SR HS ETC S4 36¡ 575w L711+ R119 (56) 1/152 22 TRUSS TEXTURE ETC S4 26¡ 575w L791 G635 (111) 1/119 ELECTRIC 2 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 MOVER Martin Mac Viper Performance 1kW NC (407) Hp 2 MOVER Martin Mac Viper Performance 1kW NC (406) Hp 3 MOVER Martin Mac Viper Performance 1kW NC (405) Hp University of Florida School of Thetare and Dance ELECTRIC 1 thru ELECTRIC 2

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INSTRUMENT SCHEDULE Page 19 of 26 4/2/17 SPRING AWAKENING ELECTRIC 3 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 ROCK LTS Par 64 VNSP 1kW L203 (534) 1/138 2 DN WASH Par 64 MFL 1kW L705 (610) 1/139 3 ROCK LTS Par 64 VNSP 1kW L203 (534) 1/138 4 DN WASH Par 64 MFL 1kW L705 (610) 1/139 5 ROCK LTS Par 64 VNSP 1kW L203 (532) 1/143 6 DN WASH Par 64 MFL 1kW L705 (608) 1/141 7 ROCK LTS Par 64 VNSP 1kW L203 (533) 1/140 8 DN WASH Par 64 MFL 1kW L705 (609) 1/142 9 ROCK LTS Par 64 VNSP 1kW L203 (532) 1/143 10 DN WASH Par 64 MFL 1kW L705 (608) 1/141 11 ROCK LTS Par 64 VNSP 1kW L203 (531) 1/144 12 DN WASH Par 64 MFL 1kW L705 (607) 1/145 13 ROCK LTS Par 64 VNSP 1kW L203 (531) 1/144 14 DN WASH Par 64 MFL 1kW L705 (607) 1/145 ELECTRIC 4 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 BK LT ETC S4 Parnel 575w L197 (93) 1/136 2 BK LT ETC S4 Parnel 575w L197 (93) 1/136 3 BK LT ETC S4 Parnel 575w L197 (92) 1/134 4 BK LT ETC S4 Parnel 575w L197 (91) 1/135 5 BK LT ETC S4 Parnel 575w L197 (91) 1/135 6 SET TEXTURE ETC S4 50¡ 750w R4230 G611 (105) 1/137 7 DOOR TEXTURE ETC S4 50¡ 750w R4230 G611 (105) 1/137 University of Florida School of Thetare and Dance ELECTRIC 3 thru ELECTRIC 4

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INSTRUMENT SCHEDULE Page 20 of 26 4/2/17 SPRING AWAKENING ELECTRIC 5 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN LT ETC S4 Parnel 750w L197 (312) 1/156 2 SL HS ETC S4 36¡ 575w G101+ R119 (38) 1/159 3 SET TEXTURE ETC S4 50¡ 750w R4230 G611 (107) 1/158 4 SL HS ETC S4 36¡ 575w G101+ R119 (37) 1/159 5 DOOR TEXTURE ETC S4 50¡ 750w R4230 G611 (106) 1/158 6 DN LT ETC S4 Parnel 750w L197 (303) 1/157 7 DN LT ETC S4 Parnel 750w L197 (303) 1/157 ELECTRIC 6 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DN WASH Par 64 MFL 1kW L705 (613) 1/153 2 DN WASH Par 64 MFL 1kW L705 (613) 1/153 3 DN WASH Par 64 MFL 1kW L705 (612) 1/155 4 DN WASH Par 64 MFL 1kW L705 (612) 1/155 5 DN WASH Par 64 MFL 1kW L705 (611) 1/160 6 BK LT ETC S4 Parnel 750w L197 (94) 1/154 7 DN WASH Par 64 MFL 1kW L705 (611) 1/160 University of Florida School of Thetare and Dance ELECTRIC 5 thru ELECTRIC 6

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INSTRUMENT SCHEDULE Page 21 of 26 4/2/17 SPRING AWAKENING ELECTRIC 7 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 PLATFORM 2 TEXTURE Vari-lite 3000 SP 1.2kW NC (411) Hp 2 MOVER Martin Mac Viper Performance 1kW NC (409) Hp 3 MOVER Martin Mac Viper Performance 1kW NC (408) Hp ELECTRIC 8 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 TRUSS TEXTURE ETC S4 50¡ 750w G842 G864 (114) 1/168 2 TRUSS TEXTURE ETC S4 50¡ 750w L791 G864 (113) 1/169 4 TRUSS TEXTURE ETC S4 50¡ 750w L791 G864 (113) 1/169 5 FR LT ETC S4 19¡ 575w L709+ R119 (701) 1/171 6 TRUSS TEXTURE ETC S4 50¡ 750w L791 G864 (113) 1/169 7 DN LT ETC S4 Parnel 750w L197 (308) 1/172 8 PLATFORM 1 TEXTURE Vari-lite 3000 SP 1.2kW NC (410) Hp ELECTRIC 9 U# Purpose Inst Type & Watt Color Gobo Chan Dim 3 DROP TEXTURE ETC CS SPOT LT BLUE 50¡ 148w G885 G294 (132) 1/180 4 DROP TEXTURE ETC CS SPOT Deep Blue 50¡ 148w G885 G630 (134) 1/179 5 DROP TEXTURE ETC CS SPOT LT BLUE 50¡ 148w G885 G294 (131) 1/181 6 DROP TEXTURE ETC CS SPOT Deep Blue 50¡ 148w G885 G630 (133) 1/178 University of Florida School of Thetare and Dance ELECTRIC 7 thru ELECTRIC 9

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INSTRUMENT SCHEDULE Page 22 of 26 4/2/17 SPRING AWAKENING ELECTRIC 10 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 HEAVEN LT ETC S4 19¡ 575w R4915 (702) 1/174 2 HEAVEN LT ETC S4 19¡ 575w R4915 (702) 1/173 ELECTRIC 11 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 BK LT Par 64 NSP 1kW R3202 (703) 1/176 2 BK LT Par 64 NSP 1kW R3202 (704) 1/177 3 BK LT Par 64 NSP 1kW R3202 (703) 1/175 ELECTRIC 12 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 Cyc Texture Vari-lite 1100AI 575w NC (412) Hp 2 Cyc Texture Vari-lite 1100AS 575w NC (413) Hp ELECTRIC 13 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 CYC COLOR Berkey Colortran Cyc Lts 1kW L777 (921) 1/191 1 CYC COLOR Berkey Colortran Cyc Lts 1kW L777 (921) 1/189 2 CYC COLOR Berkey Colortran Cyc Lts 1kW R44 (922) 1/186 3 CYC COLOR Berkey Colortran Cyc Lts 1kW R48 (923) 1/187 University of Florida School of Thetare and Dance ELECTRIC 10 thru ELECTRIC 13

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INSTRUMENT SCHEDULE Page 23 of 26 4/2/17 SPRING AWAKENING ELECTRIC 14 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 CYC COLOR Berkey Colortran Cyc Lts 1kW R376 (924) 1/197 2 CYC COLOR Berkey Colortran Cyc Lts 1kW R125 (925) 1/198 3 CYC COLOR Berkey Colortran Cyc Lts 1kW R370+ L116 (926) 1/199 SL LATERAL PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 TREE LT ETC CS SPOT Deep Blue 50¡ 148w NC (417) Hp SR LATERAL PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 Texture for Wendela ETC S4 50¡ 750w R4215 G673 (121) 1/232 2 BK LT WENDELA Altman 12" Fres 2kW NC (122) 1/231 3 Texture for Wendela ETC S4 50¡ 750w R4215 G673 (121) 1/233 HL ROH PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SPECIAL ETC S4 19¡ 575w NC R55007 (956) 1/303 2 SPECIAL ETC S4 19¡ 575w NC (955) 1/304 3 SPECIAL ETC S4 19¡ 575w NC (954) 1/309 4 SPECIAL ETC S4 19¡ 575w NC (953) 1/310 5 SPECIAL ETC S4 19¡ 575w NC (952) 1/16 6 SPECIAL ETC S4 19¡ 575w NC (951) 1/13 University of Florida School of Thetare and Dance ELECTRIC 14 thru HL ROH PIPE

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INSTRUMENT SCHEDULE Page 24 of 26 4/2/17 SPRING AWAKENING HR ROH PIPE U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SPECIAL ETC S4 19¡ 575w NC (961) 1/321 2 SPECIAL ETC S4 19¡ 575w NC (962) 1/315 3 SPECIAL ETC S4 19¡ 575w NC (963) 1/22 4 SPECIAL ETC S4 19¡ 575w NC (964) 1/43 5 SPECIAL ETC S4 19¡ 575w NC (965) 1/316 6 SPECIAL ETC S4 19¡ 575w NC (966) 1/322 BOH U# Purpose Inst Type & Watt Color Gobo Chan Dim 3 WINDOW GOBO ETC S4 5¡ 575w NC G583 (313) 1/24 BOOM-BOX 1 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 SIDE LT ETC S4 26¡ 575w NC (207) 1/206 SET-BOX 1 U# Purpose Inst Type & Watt Color Gobo Chan Dim 2 FACE LT Altman 3" Fresnel 150w R3202 (209) 1/204 3 FACE LT Altman 3" Fresnel 150w R3202 (209) 1/204 4 GENERAL LT STICK UP 100w R3202 (205) 1/229 BOOM-BOX 2 U# Purpose Inst Type & Watt Color Gobo Chan Dim 3 SIDE LT ETC S4 26¡ 575w NC (202) 1/230 University of Florida School of Thetare and Dance HR ROH PIPE thru BOOM-BOX 2

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INSTRUMENT SCHEDULE Page 25 of 26 4/2/17 SPRING AWAKENING SET-BOX 2 U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 FACE LT Altman 3" Fresnel 150w R3202 (204) 1/228 2 FACE LT Altman 3" Fresnel 150w R3202 (204) 1/228 4 GENERAL LT STICK UP 100w R3202 (210) 1/205 SL CALIPHER FLOOR U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 MOVER Martin Mac Viper Performance 1kW NC (402) Hp SR CALIPHER FLOOR U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 MOVER Martin Mac Viper Performance 1kW NC (401) Hp SL DECK U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 MOVER Martin Mac Viper Performance 1kW NC (404) Hp SR DECK U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 MOVER Martin Mac Viper Performance 1kW NC (403) Hp University of Florida School of Thetare and Dance SET-BOX 2 thru SR DECK

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INSTRUMENT SCHEDULE Page 26 of 26 4/2/17 SPRING AWAKENING ST FLOOR U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 DROP COLOR Altman 520 Strip Cell 500w R348 (901) 1/247 1 FOGGER F-100 Fogger 2w NC (423) Hp 2 GRAVE EFFECT FQ-100 Fogger 1.5kW NC (422) Hp 3 DROP COLOR Altman 520 Strip Cell 500w L716 (904) 1/248 3 DROP COLOR Altman 520 Strip Cell 500w A7600 (903) 1/219 3 DROP COLOR Altman 520 Strip Cell 500w A5700 (902) 1/243 ST FLOOR USC U# Purpose Inst Type & Watt Color Gobo Chan Dim 5 DEEP BLUE 4 CYC Martin Mac Viper Performance 1kW NC (415) Hp TRAP IN SET U# Purpose Inst Type & Watt Color Gobo Chan Dim 1 GRAVE LED LED RGBW 8B 24w NC (421) Hp University of Florida School of Thetare and Dance ST FLOOR thru TRAP IN SET

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156 COLOR SCHEDULE

PAGE 157

COLOR SCHEDULE Page 1 of 19 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell Color U# Instrument Type Position Watt Channel Dim Purpose NC 3 ETC S4 26¡ Island 1 575w (141) 1/78 WINDOW GOBO A1/ S4 4 ETC S4 26¡ Island 2 575w (142) 1/68 WINDOW GOBO 2 14" Scoop Island 24 1kW (3001) 1/5 WORK LIGHTS 2 14" Scoop Island 36 1kW (3001) 1/5 WORK LIGHTS 2 ETC S4 26¡ HL BOX BOOM 575w (1012) 1/308 SPECIAL 3 ETC S4 26¡ HL BOX BOOM 575w (1013) 1/307 SPECIAL 4 ETC S4 26¡ HL BOX BOOM 575w (1014) 1/302 SPECIAL 5 ETC S4 36¡ HL BOX BOOM 575w (1015) 1/301 SPECIAL 1 ETC S4 36¡ HR BOX BOOM 575w (1016) 1/320 SPECIAL 2 ETC S4 26¡ HR BOX BOOM 575w (1017) 1/319 SPECIAL 3 ETC S4 26¡ HR BOX BOOM 575w (1018) 1/314 SPECIAL 4 ETC S4 26¡ HR BOX BOOM 575w (1019) 1/313 SPECIAL 5 ETC S4 26¡ HR BOX BOOM 575w (1020) 1/2 SPECIAL University of Florida School of Thetare and Dance NC

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COLOR SCHEDULE Page 2 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose NC 1 Martin Mac Viper Performance ELECTRIC 2 1kW (407) Hp MOVER 2 Martin Mac Viper Performance ELECTRIC 2 1kW (406) Hp MOVER 3 Martin Mac Viper Performance ELECTRIC 2 1kW (405) Hp MOVER 1 Vari-lite 3000 SP ELECTRIC 7 1.2k W (411) Hp PLATFOR M 2 TEXTURE 2 Martin Mac Viper Performance ELECTRIC 7 1kW (409) Hp MOVER 3 Martin Mac Viper Performance ELECTRIC 7 1kW (408) Hp MOVER 8 Vari-lite 3000 SP ELECTRIC 8 1.2k W (410) Hp PLATFOR M 1 TEXTURE 1 Vari-lite 1100AI ELECTRIC 12 575w (412) Hp Cyc Texture 2 Vari-lite 1100AS ELECTRIC 12 575w (413) Hp Cyc Texture 1 ETC CS SPOT Deep Blue 50¡ SL LATERAL PIPE 148w (417) Hp TREE LT 2 Altman 12" Fres SR LATERAL PIPE 2kW (122) 1/231 BK LT WENDEL A 1 ETC S4 19¡ HL ROH PIPE 575w (956) 1/303 SPECIAL 2 ETC S4 19¡ HL ROH PIPE 575w (955) 1/304 SPECIAL 3 ETC S4 19¡ HL ROH PIPE 575w (954) 1/309 SPECIAL University of Florida School of Thetare and Dance NC

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COLOR SCHEDULE Page 3 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose NC 4 ETC S4 19¡ HL ROH PIPE 575w (953) 1/310 SPECIAL 5 ETC S4 19¡ HL ROH PIPE 575w (952) 1/16 SPECIAL 6 ETC S4 19¡ HL ROH PIPE 575w (951) 1/13 SPECIAL 1 ETC S4 19¡ HR ROH PIPE 575w (961) 1/321 SPECIAL 2 ETC S4 19¡ HR ROH PIPE 575w (962) 1/315 SPECIAL 3 ETC S4 19¡ HR ROH PIPE 575w (963) 1/22 SPECIAL 4 ETC S4 19¡ HR ROH PIPE 575w (964) 1/43 SPECIAL 5 ETC S4 19¡ HR ROH PIPE 575w (965) 1/316 SPECIAL 6 ETC S4 19¡ HR ROH PIPE 575w (966) 1/322 SPECIAL 3 ETC S4 5¡ BOH 575w (313) 1/24 WINDOW GOBO 1 ETC S4 26¡ BOOM-BOX 1 575w (207) 1/206 SIDE LT 3 ETC S4 26¡ BOOM-BOX 2 575w (202) 1/230 SIDE LT 1 Martin Mac Viper Performance SL CALIPHER FLOOR 1kW (402) Hp MOVER 1 Martin Mac Viper Performance SR CALIPHER FLOOR 1kW (401) Hp MOVER University of Florida School of Thetare and Dance NC

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COLOR SCHEDULE Page 4 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose NC 1 Martin Mac Viper Performance SL DECK 1kW (404) Hp MOVER 1 Martin Mac Viper Performance SR DECK 1kW (403) Hp MOVER 1 F-100 Fogger ST FLOOR 2w (423) Hp FOGGER 2 FQ-100 Fogger ST FLOOR 1.5k W (422) Hp GRAVE EFFECT 5 Martin Mac Viper Performance ST FLOOR USC 1kW (415) Hp DEEP BLUE 4 CYC 1 LED RGBW 8B TRAP IN SET 24w (421) Hp GRAVE LED University of Florida School of Thetare and Dance NC

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COLOR SCHEDULE Page 5 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose G101+ R119 1 ETC S4 36¡ Island 3 575w (31) 1/63 SL HS 3 ETC S4 36¡ Island 3 575w (26) 1/112 SL HS 1 ETC S4 36¡ Island 4 575w (31) 1/63 SL HS 6 ETC S4 36¡ Island 4 575w (27) 1/47 SL HS 1 ETC S4 36¡ Island 6 575w (33) 1/60 SL HS 4 ETC S4 36¡ Island 6 575w (33) 1/60 SL HS 3 ETC S4 36¡ Island 10 575w (21) 1/107 SL HS 2 ETC S4 36¡ Island 11 575w (22) 1/108 SL HS 1 ETC S4 36¡ Island 12 575w (27) 1/47 SL HS 1 ETC S4 36¡ Island 13 575w (28) 1/90 SL HS 1 ETC S4 36¡ Island 14 575w (29) 1/44 SL HS 2 ETC S4 36¡ Island 14 575w (29) 1/44 SL HS 2 ETC S4 36¡ Island 20 575w (23) 1/31 SL HS 4 ETC S4 36¡ Island 20 575w (22) 1/20 SL HS 2 ETC S4 36¡ Island 21 575w (24) 1/29 SL HS 3 ETC S4 36¡ Island 21 575w (24) 1/29 SL HS 3 ETC S4 36¡ HR LADDER 575w (30) 1/324 SL HS 5 ETC S4 36¡ HR LADDER 575w (25) 1/317 SL HS 1 ETC S4 36¡ AP PIPE 575w (32) 1/72 SL HS 2 ETC S4 36¡ ELECTRIC 1 575w (36) 1/120 SL HS 7 ETC S4 36¡ ELECTRIC 1 575w (35) 1/125 SL HS 12 ETC S4 26¡ ELECTRIC 1 575w (34) 1/127 SL HS 2 ETC S4 36¡ ELECTRIC 5 575w (38) 1/159 SL HS 4 ETC S4 36¡ ELECTRIC 5 575w (37) 1/159 SL HS G842 1 ETC S4 50¡ ELECTRIC 8 750w (114) 1/168 TRUSS TEXTURE University of Florida School of Thetare and Dance G101+ R119 thru G842

PAGE 162

COLOR SCHEDULE Page 6 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose G885 6 ETC S4 36¡ HL LADDER 575w (102) 1/305 SET TEXTURE 7 ETC S4 36¡ HL LADDER 575w (101) 1/41 SET TEXTURE 6 ETC S4 36¡ HR LADDER 575w (104) 1/323 SET TEXTURE 7 ETC S4 36¡ HR LADDER 575w (103) 1/318 SET TEXTURE 3 ETC CS SPOT LT BLUE 50¡ ELECTRIC 9 148w (132) 1/180 DROP TEXTURE 4 ETC CS SPOT Deep Blue 50¡ ELECTRIC 9 148w (134) 1/179 DROP TEXTURE 5 ETC CS SPOT LT BLUE 50¡ ELECTRIC 9 148w (131) 1/181 DROP TEXTURE 6 ETC CS SPOT Deep Blue 50¡ ELECTRIC 9 148w (133) 1/178 DROP TEXTURE G888 1 ETC S4 36¡ HL LADDER 575w (323) 1/306 TEXTURE 2 ETC S4 36¡ HL LADDER 575w (323) 1/306 TEXTURE 1 ETC S4 36¡ HR LADDER 575w (324) 1/17 TEXTURE 2 ETC S4 36¡ HR LADDER 575w (324) 1/17 TEXTURE University of Florida School of Thetare and Dance G885 thru G888

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COLOR SCHEDULE Page 7 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L162 4 ETC S4 Parnel Island 1 750w (203) 1/69 DN LT 2 ETC S4 Par WFL Island 2 750w (64) 1/55 DN LT 5 ETC S4 Par WFL Island 3 750w (65) 1/65 DN LT 4 ETC S4 Par WFL Island 4 750w (65) 1/65 DN LT 3 ETC S4 Par WFL Island 5 750w (67) 1/61 DN LT 2 ETC S4 Parnel Island 6 750w (208) 1/73 DN LT 3 ETC S4 Par WFL Island 7 750w (64) 1/55 DN LT 4 ETC S4 Par WFL Island 11 750w (62) 1/106 DN LT 5 ETC S4 Par WFL Island 14 750w (67) 1/61 DN LT 1 ETC S4 Par WFL Island 15 750w (61) 1/39 DN LT 1 ETC S4 Par WFL Island 16 750w (61) 1/39 DN LT 1 ETC S4 Par WFL Island 17 750w (62) 1/37 DN LT 1 ETC S4 Par WFL Island 19 750w (62) 1/34 DN LT 1 ETC S4 Par WFL Island 20 750w (63) 1/89 DN LT 1 ETC S4 Par WFL Island 21 750w (63) 1/89 DN LT 2 ETC S4 Par WFL SPAN PIPE 750w (65) 1/65 DN LT 3 ETC S4 Par WFL AP PIPE 750w (70) 1/76 DN LT 8 ETC S4 Par WFL AP PIPE 750w (70) 1/76 DN LT 13 ETC S4 Par WFL AP PIPE 750w (69) 1/82 DN LT 18 ETC S4 Par WFL AP PIPE 750w (68) 1/87 DN LT 22 ETC S4 Par WFL AP PIPE 750w (68) 1/87 DN LT 4 ETC S4 Parnel ELECTRIC 1 575w (73) 1/122 DN LT 8 ETC S4 Parnel ELECTRIC 1 575w (73) 1/122 DN LT 14 ETC S4 Parnel ELECTRIC 1 575w (72) 1/129 DN LT 17 ETC S4 Parnel ELECTRIC 1 575w (71) 1/132 DN LT University of Florida School of Thetare and Dance L162

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COLOR SCHEDULE Page 8 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L162 20 ETC S4 Parnel ELECTRIC 1 575w (71) 1/132 DN LT L197 3 ETC S4 Parnel Island 2 575w (87) 1/67 BK LT 6 ETC S4 Parnel Island 3 575w (85) 1/77 BK LT 3 ETC S4 Parnel Island 4 575w (85) 1/77 BK LT 2 ETC S4 Parnel Island 5 575w (84) 1/62 BK LT 3 ETC S4 Parnel Island 6 575w (84) 1/62 BK LT 1 ETC S4 Parnel Island 7 575w (87) 1/67 BK LT 2 ETC S4 Parnel Island 8 575w (81) 1/56 BK LT 3 ETC S4 Parnel Island 9 575w (82) 1/54 BK LT 5 ETC S4 Parnel Island 9 575w (81) 1/56 BK LT 6 ETC S4 Parnel Island 11 575w (82) 1/49 BK LT 3 ETC S4 Parnel Island 12 575w (83) 1/46 BK LT 4 ETC S4 Parnel Island 12 575w (82) 1/49 BK LT 2 ETC S4 Parnel Island 13 575w (83) 1/46 BK LT 5 ETC S4 Parnel ELECTRIC 1 575w (90) 1/123 BK LT 9 ETC S4 Parnel ELECTRIC 1 575w (90) 1/123 BK LT 13 ETC S4 Parnel ELECTRIC 1 575w (89) 1/128 BK LT 16 ETC S4 Parnel ELECTRIC 1 575w (88) 1/131 BK LT 19 ETC S4 Parnel ELECTRIC 1 575w (88) 1/131 BK LT 1 ETC S4 Parnel ELECTRIC 4 575w (93) 1/136 BK LT 2 ETC S4 Parnel ELECTRIC 4 575w (93) 1/136 BK LT 3 ETC S4 Parnel ELECTRIC 4 575w (92) 1/134 BK LT 4 ETC S4 Parnel ELECTRIC 4 575w (91) 1/135 BK LT 5 ETC S4 Parnel ELECTRIC 4 575w (91) 1/135 BK LT 1 ETC S4 Parnel ELECTRIC 5 750w (312) 1/156 DN LT University of Florida School of Thetare and Dance L162 thru L197

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COLOR SCHEDULE Page 9 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L197 6 ETC S4 Parnel ELECTRIC 5 750w (303) 1/157 DN LT 7 ETC S4 Parnel ELECTRIC 5 750w (303) 1/157 DN LT 6 ETC S4 Parnel ELECTRIC 6 750w (94) 1/154 BK LT 7 ETC S4 Parnel ELECTRIC 8 750w (308) 1/172 DN LT University of Florida School of Thetare and Dance L197

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COLOR SCHEDULE Page 10 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L201 1 Par 64 VNSP SR BOOM 1kW (511) 1/101 ROCK LTS 2 Par 64 VNSP SR BOOM 1kW (512) 1/115 ROCK LTS 3 Par 64 VNSP SR BOOM 1kW (513) 1/102 ROCK LTS 4 Par 64 VNSP SR BOOM 1kW (512) 1/115 ROCK LTS 5 Par 64 VNSP SR BOOM 1kW (513) 1/102 ROCK LTS 1 Par 64 VNSP SL BOOM 1kW (514) 1/98 ROCK LTS 2 Par 64 VNSP SL BOOM 1kW (515) 1/100 ROCK LTS 3 Par 64 VNSP SL BOOM 1kW (516) 1/94 ROCK LTS 4 Par 64 VNSP SL BOOM 1kW (515) 1/100 ROCK LTS 5 Par 64 VNSP SL BOOM 1kW (516) 1/94 ROCK LTS 1 Par 64 VNSP HL TAILDOWN 1kW (501) 1/103 ROCK LTS 2 Par 64 VNSP HL TAILDOWN 1kW (502) 1/114 ROCK LTS 3 Par 64 VNSP HL TAILDOWN 1kW (503) 1/116 ROCK LTS 4 Par 64 VNSP HL TAILDOWN 1kW (502) 1/114 ROCK LTS 5 Par 64 VNSP HL TAILDOWN 1kW (503) 1/116 ROCK LTS 1 Par 64 VNSP HR TAILDOWN 1kW (504) 1/96 ROCK LTS 2 Par 64 VNSP HR TAILDOWN 1kW (505) 1/93 ROCK LTS 3 Par 64 VNSP HR TAILDOWN 1kW (506) 1/97 ROCK LTS 4 Par 64 VNSP HR TAILDOWN 1kW (505) 1/93 ROCK LTS University of Florida School of Thetare and Dance L201

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COLOR SCHEDULE Page 11 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L201 5 Par 64 VNSP HR TAILDOWN 1kW (506) 1/97 ROCK LTS 4 Par 64 VNSP AP PIPE 1kW (524) 1/75 ROCK LTS 7 Par 64 VNSP AP PIPE 1kW (524) 1/75 ROCK LTS 10 Par 64 VNSP AP PIPE 1kW (523) 1/81 ROCK LTS 14 Par 64 VNSP AP PIPE 1kW (523) 1/81 ROCK LTS 16 Par 64 VNSP AP PIPE 1kW (522) 1/85 ROCK LTS 19 Par 64 VNSP AP PIPE 1kW (522) 1/85 ROCK LTS 21 Par 64 VNSP AP PIPE 1kW (521) 1/86 ROCK LTS L203 1 Par 64 VNSP ELECTRIC 3 1kW (534) 1/138 ROCK LTS 3 Par 64 VNSP ELECTRIC 3 1kW (534) 1/138 ROCK LTS 5 Par 64 VNSP ELECTRIC 3 1kW (532) 1/143 ROCK LTS 7 Par 64 VNSP ELECTRIC 3 1kW (533) 1/140 ROCK LTS 9 Par 64 VNSP ELECTRIC 3 1kW (532) 1/143 ROCK LTS 11 Par 64 VNSP ELECTRIC 3 1kW (531) 1/144 ROCK LTS 13 Par 64 VNSP ELECTRIC 3 1kW (531) 1/144 ROCK LTS L502 1 ETC S4 26¡ ELECTRIC 1 575w (111) 1/119 TRUSS TEXTURE University of Florida School of Thetare and Dance L201 thru L502

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COLOR SCHEDULE Page 12 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L705 4 Par 64 MFL HL LADDER 1kW (601) 1/42 DN WASH 8 Par 64 MFL HL LADDER 1kW (601) 1/42 DN WASH 4 Par 64 MFL HR LADDER 1kW (602) 1/30 DN WASH 8 Par 64 MFL HR LADDER 1kW (602) 1/30 DN WASH 2 Par 64 MFL AP PIPE 1kW (606) 1/74 DN WASH 5 Par 64 MFL AP PIPE 1kW (606) 1/74 DN WASH 9 Par 64 MFL AP PIPE 1kW (605) 1/80 DN WASH 12 Par 64 MFL AP PIPE 1kW (605) 1/80 DN WASH 15 Par 64 MFL AP PIPE 1kW (604) 1/83 DN WASH 17 Par 64 MFL AP PIPE 1kW (604) 1/83 DN WASH 20 Par 64 MFL AP PIPE 1kW (603) 1/88 DN WASH 23 Par 64 MFL AP PIPE 1kW (603) 1/88 DN WASH 2 Par 64 MFL ELECTRIC 3 1kW (610) 1/139 DN WASH 4 Par 64 MFL ELECTRIC 3 1kW (610) 1/139 DN WASH 6 Par 64 MFL ELECTRIC 3 1kW (608) 1/141 DN WASH 8 Par 64 MFL ELECTRIC 3 1kW (609) 1/142 DN WASH 10 Par 64 MFL ELECTRIC 3 1kW (608) 1/141 DN WASH 12 Par 64 MFL ELECTRIC 3 1kW (607) 1/145 DN WASH 14 Par 64 MFL ELECTRIC 3 1kW (607) 1/145 DN WASH 1 Par 64 MFL ELECTRIC 6 1kW (613) 1/153 DN WASH 2 Par 64 MFL ELECTRIC 6 1kW (613) 1/153 DN WASH 3 Par 64 MFL ELECTRIC 6 1kW (612) 1/155 DN WASH 4 Par 64 MFL ELECTRIC 6 1kW (612) 1/155 DN WASH 5 Par 64 MFL ELECTRIC 6 1kW (611) 1/160 DN WASH 7 Par 64 MFL ELECTRIC 6 1kW (611) 1/160 DN WASH University of Florida School of Thetare and Dance L705

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COLOR SCHEDULE Page 13 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L709+ R119 2 ETC S4 26¡ Island 9 575w (14) 1/53 FR LT 4 ETC S4 26¡ Island 9 575w (14) 1/53 FR LT 6 ETC S4 19¡ Island 9 575w (201) 1/26 FR LT 1 ETC S4 26¡ Island 10 575w (15) 1/52 FR LT 2 ETC S4 26¡ Island 12 575w (206) 1/48 FR LT 5 ETC S4 26¡ Island 12 575w (16) 1/4 FR LT 3 ETC S4 26¡ Island 13 575w (16) 1/45 FR LT 3 ETC S4 26¡ Island 16 575w (11) 1/28 FR LT 2 ETC S4 26¡ Island 17 575w (11) 1/38 FR LT 1 ETC S4 26¡ Island 18 575w (12) 1/36 FR LT 2 ETC S4 26¡ Island 18 575w (8) 1/35 FR LT 2 ETC S4 26¡ Island 19 575w (13) 1/33 FR LT 3 ETC S4 26¡ Island 20 575w (13) 1/32 FR LT 1 ETC S4 26¡ Island 22 575w (6) 1/25 FR LT 1 ETC S4 26¡ Island 24 575w (6) 1/25 FR LT 1 ETC S4 26¡ Island 25 575w (7) 1/23 FR LT 1 ETC S4 26¡ Island 26 575w (9) 1/21 FR LT 1 ETC S4 26¡ Island 27 575w (10) 1/19 FR LT 1 ETC S4 26¡ Island 29 575w (10) 1/18 FR LT 1 ETC S4 26¡ Island 30 575w (1) 1/27 FR LT 1 ETC S4 26¡ Island 31 575w (1) 1/14 FR LT 1 ETC S4 26¡ Island 32 575w (2) 1/11 FR LT 1 ETC S4 26¡ Island 34 575w (3) 1/7 FR LT 1 ETC S4 26¡ Island 35 575w (4) 1/6 FR LT 1 ETC S4 26¡ Island 36 575w (5) 1/3 FR LT University of Florida School of Thetare and Dance L709+ R119

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COLOR SCHEDULE Page 14 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L709+ R119 1 ETC S4 26¡ Island 37 575w (5) 1/1 FR LT 1 ETC S4 26¡ HL BOX BOOM 575w (1011) 1/15 BOX 1 BOOST 3 ETC S4 26¡ ELECTRIC 1 575w (311) 1/121 FR LT 6 ETC S4 26¡ ELECTRIC 1 575w (301) 1/124 FR LT 10 ETC S4 26¡ ELECTRIC 1 575w (302) 1/126 FR LT 11 ETC S4 26¡ ELECTRIC 1 575w (311) 1/121 FR LT 5 ETC S4 19¡ ELECTRIC 8 575w (701) 1/171 FR LT University of Florida School of Thetare and Dance L709+ R119

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COLOR SCHEDULE Page 15 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L711+ R119 1 ETC S4 36¡ Island 1 575w (51) 1/70 SR HS 2 ETC S4 36¡ Island 1 575w (51) 1/70 SR HS 1 ETC S4 36¡ Island 2 575w (52) 1/79 SR HS 2 ETC S4 36¡ Island 3 575w (53) 1/64 SR HS 4 ETC S4 36¡ Island 3 575w (50) 1/66 SR HS 2 ETC S4 36¡ Island 4 575w (53) 1/64 SR HS 5 ETC S4 36¡ Island 4 575w (50) 1/66 SR HS 4 ETC S4 36¡ Island 7 575w (47) 1/57 SR HS 6 ETC S4 36¡ Island 7 575w (47) 1/57 SR HS 1 ETC S4 36¡ Island 8 575w (48) 1/110 SR HS 1 ETC S4 36¡ Island 9 575w (49) 1/104 SR HS 2 ETC S4 36¡ Island 10 575w (45) 1/50 SR HS 3 ETC S4 36¡ Island 11 575w (45) 1/50 SR HS 2 ETC S4 36¡ Island 15 575w (42) 1/9 SR HS 3 ETC S4 36¡ Island 15 575w (42) 1/9 SR HS 2 ETC S4 36¡ Island 16 575w (44) 1/40 SR HS 4 ETC S4 36¡ Island 16 575w (43) 1/12 SR HS 3 ETC S4 36¡ HL LADDER 575w (46) 1/311 SR HS 5 ETC S4 36¡ HL LADDER 575w (41) 1/312 SR HS 15 ETC S4 26¡ ELECTRIC 1 575w (58) 1/130 SR HS 18 ETC S4 36¡ ELECTRIC 1 575w (57) 1/133 SR HS 21 ETC S4 36¡ ELECTRIC 1 575w (56) 1/152 SR HS L716 3 Altman 520 Strip Cell ST FLOOR 500w (904) 1/248 DROP COLOR University of Florida School of Thetare and Dance L711+ R119 thru L716

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COLOR SCHEDULE Page 16 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose L777 1 Berkey Colortran Cyc Lts ELECTRIC 13 1kW (921) 1/191 CYC COLOR 1 Berkey Colortran Cyc Lts ELECTRIC 13 1kW (921) 1/189 CYC COLOR L791 22 ETC S4 26¡ ELECTRIC 1 575w (111) 1/119 TRUSS TEXTURE 2 ETC S4 50¡ ELECTRIC 8 750w (113) 1/169 TRUSS TEXTURE 4 ETC S4 50¡ ELECTRIC 8 750w (113) 1/169 TRUSS TEXTURE 6 ETC S4 50¡ ELECTRIC 8 750w (113) 1/169 TRUSS TEXTURE R44 2 Berkey Colortran Cyc Lts ELECTRIC 13 1kW (922) 1/186 CYC COLOR R48 3 Berkey Colortran Cyc Lts ELECTRIC 13 1kW (923) 1/187 CYC COLOR R348 1 Altman 520 Strip Cell ST FLOOR 500w (901) 1/247 DROP COLOR R376 1 Berkey Colortran Cyc Lts ELECTRIC 14 1kW (924) 1/197 CYC COLOR R125 2 Berkey Colortran Cyc Lts ELECTRIC 14 1kW (925) 1/198 CYC COLOR University of Florida School of Thetare and Dance L777 thru R125

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COLOR SCHEDULE Page 17 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose R3202 1 Par 64 NSP ELECTRIC 11 1kW (703) 1/176 BK LT 2 Par 64 NSP ELECTRIC 11 1kW (704) 1/177 BK LT 3 Par 64 NSP ELECTRIC 11 1kW (703) 1/175 BK LT 2 Altman 3" Fresnel SET-BOX 1 150w (209) 1/204 FACE LT 3 Altman 3" Fresnel SET-BOX 1 150w (209) 1/204 FACE LT 4 STICK UP SET-BOX 1 100w (205) 1/229 GENERAL LT 1 Altman 3" Fresnel SET-BOX 2 150w (204) 1/228 FACE LT 2 Altman 3" Fresnel SET-BOX 2 150w (204) 1/228 FACE LT 4 STICK UP SET-BOX 2 100w (210) 1/205 GENERAL LT R3203 + 4 ETC S4 50¡ Island 10 750w (1002) 1/51 CROSS LT 1 ETC S4 50¡ Island 11 750w (1002) 1/51 CROSS LT 5 ETC S4 50¡ Island 11 750w (1001) 1/109 CROSS LT 1 ETC S4 50¡ SPAN PIPE 750w (1001) 1/109 CROSS LT R4215 1 ETC S4 50¡ SR LATERAL PIPE 750w (121) 1/232 Texture for Wendela 3 ETC S4 50¡ SR LATERAL PIPE 750w (121) 1/233 Texture for Wendela R4915 1 ETC S4 19¡ ELECTRIC 10 575w (702) 1/174 HEAVEN LT 2 ETC S4 19¡ ELECTRIC 10 575w (702) 1/173 HEAVEN LT University of Florida School of Thetare and Dance R3202 thru R4915

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COLOR SCHEDULE Page 18 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose R4230 6 ETC S4 50¡ ELECTRIC 4 750w (105) 1/137 SET TEXTURE 7 ETC S4 50¡ ELECTRIC 4 750w (105) 1/137 DOOR TEXTURE 3 ETC S4 50¡ ELECTRIC 5 750w (107) 1/158 SET TEXTURE 5 ETC S4 50¡ ELECTRIC 5 750w (106) 1/158 DOOR TEXTURE A5700 3 Altman 520 Strip Cell ST FLOOR 500w (902) 1/243 DROP COLOR A7600 3 Altman 520 Strip Cell ST FLOOR 500w (903) 1/219 DROP COLOR R370+L116 3 Berkey Colortran Cyc Lts ELECTRIC 14 1kW (926) 1/199 CYC COLOR Scroll 5 2.1 Forrunner 7.5" SR BOOM 480w (321) SCROLLE R 2.1 Forrunner 7.5" SR BOOM 480w (322) SCROLLE R 4.1 Forrunner 7.5" SR BOOM 480w (321) SCROLLE R 4.1 Forrunner 7.5" SR BOOM 480w (322) SCROLLE R SCROLLS: 5. Scroll 5: R-00, A-6100, A-7050, A-2120, A-7800, A-8400, A-8600, A-8650, A-3250, R-57, A-2030, A-2010, A-4450, A-4250, A-5600, A-5400 University of Florida School of Thetare and Dance R4230 thru Scroll 5

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COLOR SCHEDULE Page 19 of 19 4/2/17 SPRING AWAKENING Color U# Instrument Type Position Watt Channel Dim Purpose Scroll 6 1.1 Forrunner 7.5" SR BOOM 480w (331) SCROLLE R 3.1 Forrunner 7.5" SR BOOM 480w (331) SCROLLE R 1.1 Forrunner 7.5" SL BOOM 480w (332) SCROLLE R 3.1 Forrunner 7.5" SL BOOM 480w (332) SCROLLE R Scroller 1 ETC S4 36¡ SR BOOM 575w (331) 1/113 SIDE LT 2 ETC S4 36¡ SR BOOM 575w (321) 1/117 3 ETC S4 50¡ SR BOOM 750w (331) 1/113 SIDE LT 4 ETC S4 50¡ SR BOOM 750w (321) 1/117 1 ETC S4 36¡ SL BOOM 575w (332) 1/91 SIDE LT 2 ETC S4 36¡ SL BOOM 575w (322) 1/92 3 ETC S4 50¡ SL BOOM 750w (332) 1/91 SIDE LT 4 ETC S4 50¡ SL BOOM 750w (322) 1/92 SCROLLS: 6. Scroll 6: R-00, L-765, G-325, L-285, L-776, G-235, R-4830, L-701, L-709, G-872, L-281, L-161, G-841, L-715, L-728 University of Florida School of Thetare and Dance Scroll 6 thru Scroller

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175 GOBO SCHEDULE

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GOBO SCHEDULE Page 1 of 3 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell G294 Position U# Instrument Type Watt Purpose Chan Dimmer Color ELECTRIC 9 3 ETC CS SPOT LT BLUE 50¡ 148w DROP TEXTURE (132) 1/180 G885 ELECTRIC 9 5 ETC CS SPOT LT BLUE 50¡ 148w DROP TEXTURE (131) 1/181 G885 G583 Position U# Instrument Type Watt Purpose Chan Dimmer Color BOH 3 ETC S4 5¡ 575w WINDOW GOBO (313) 1/24 NC G611 Position U# Instrument Type Watt Purpose Chan Dimmer Color ELECTRIC 4 6 ETC S4 50¡ 750w SET TEXTURE (105) 1/137 R4230 ELECTRIC 4 7 ETC S4 50¡ 750w DOOR TEXTURE (105) 1/137 R4230 ELECTRIC 5 3 ETC S4 50¡ 750w SET TEXTURE (107) 1/158 R4230 ELECTRIC 5 5 ETC S4 50¡ 750w DOOR TEXTURE (106) 1/158 R4230 G614 Position U# Instrument Type Watt Purpose Chan Dimmer Color Island 2 4 ETC S4 26¡ 575w WINDOW GOBO (142) 1/68 NC University of Florida School of Thetare and Dance / G294 thru G614

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GOBO SCHEDULE Page 2 of 3 4/2/17 SPRING AWAKENING G630 Position U# Instrument Type Watt Purpose Chan Dimmer Color ELECTRIC 9 4 ETC CS SPOT Deep Blue 50¡ 148w DROP TEXTURE (134) 1/179 G885 ELECTRIC 9 6 ETC CS SPOT Deep Blue 50¡ 148w DROP TEXTURE (133) 1/178 G885 G635 Position U# Instrument Type Watt Purpose Chan Dimmer Color ELECTRIC 1 1 ETC S4 26¡ 575w TRUSS TEXTURE (111) 1/119 L502 ELECTRIC 1 22 ETC S4 26¡ 575w TRUSS TEXTURE (111) 1/119 L791 G641 Position U# Instrument Type Watt Purpose Chan Dimmer Color HR LADDER 1 ETC S4 36¡ 575w TEXTURE (324) 1/17 G888 HR LADDER 2 ETC S4 36¡ 575w TEXTURE (324) 1/17 G888 G673 Position U# Instrument Type Watt Purpose Chan Dimmer Color SR LATERAL PIPE 1 ETC S4 50¡ 750w Texture for Wendela (121) 1/232 R4215 SR LATERAL PIPE 3 ETC S4 50¡ 750w Texture for Wendela (121) 1/233 R4215 University of Florida School of Thetare and Dance / G630 thru G673

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GOBO SCHEDULE Page 3 of 3 4/2/17 SPRING AWAKENING G680 Position U# Instrument Type Watt Purpose Chan Dimmer Color HL LADDER 6 ETC S4 36¡ 575w SET TEXTURE (102) 1/305 G885 HL LADDER 7 ETC S4 36¡ 575w SET TEXTURE (101) 1/41 G885 HR LADDER 6 ETC S4 36¡ 575w SET TEXTURE (104) 1/323 G885 HR LADDER 7 ETC S4 36¡ 575w SET TEXTURE (103) 1/318 G885 G864 Position U# Instrument Type Watt Purpose Chan Dimmer Color HL LADDER 1 ETC S4 36¡ 575w TEXTURE (323) 1/306 G888 HL LADDER 2 ETC S4 36¡ 575w TEXTURE (323) 1/306 G888 ELECTRIC 8 1 ETC S4 50¡ 750w TRUSS TEXTURE (114) 1/168 G842 ELECTRIC 8 2 ETC S4 50¡ 750w TRUSS TEXTURE (113) 1/169 L791 ELECTRIC 8 4 ETC S4 50¡ 750w TRUSS TEXTURE (113) 1/169 L791 ELECTRIC 8 6 ETC S4 50¡ 750w TRUSS TEXTURE (113) 1/169 L791 R55007 Position U# Instrument Type Watt Purpose Chan Dimmer Color HL ROH PIPE 1 ETC S4 19¡ 575w SPECIAL (956) 1/303 NC G799 Position U# Instrument Type Watt Purpose Chan Dimmer Color Island 1 3 ETC S4 26¡ 575w WINDOW GOBO A1/ S4 (141) 1/78 NC University of Florida School of Thetare and Dance / G680 thru G799

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179 CHEAT SHEET

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CHEAT SHEET Page 1 of 4 4/2/17 SPRING AWAKENING Producer: Dr. Dickey LD: Tiana Alderson Director: Tony Mata Assoc: Dalton Hamilton Constans Theatre, Oct 28, 2016 ME: Todd Bedell This is not a hookup or instrument schedule. Do not assume items on the same line relate to each other. Chan Purpose Position Color (1) FR LT Island 30 Island 31 L709+ R119 (2) FR LT Island 32 L709+ R119 (3) FR LT Island 34 L709+ R119 (4) FR LT Island 35 L709+ R119 (5) FR LT Island 36 Island 37 L709+ R119 (6) FR LT Island 22 Island 24 L709+ R119 (7) FR LT Island 25 L709+ R119 (8) FR LT Island 18 L709+ R119 (9) FR LT Island 26 L709+ R119 (10) FR LT Island 27 Island 29 L709+ R119 (11) FR LT Island 16 Island 17 L709+ R119 (12) FR LT Island 18 L709+ R119 (13) FR LT Island 19 Island 20 L709+ R119 (14) FR LT Island 9 L709+ R119 (15) FR LT Island 10 L709+ R119 (16) FR LT Island 12 Island 13 L709+ R119 (21) SL HS Island 10 G101+ R119 (22) SL HS Island 11 Island 20 G101+ R119 (23) SL HS Island 20 G101+ R119 (24) SL HS Island 21 G101+ R119 (25) SL HS HR LADDER G101+ R119 (26) SL HS Island 3 G101+ R119 (27) SL HS Island 4 Island 12 G101+ R119 (28) SL HS Island 13 G101+ R119 (29) SL HS Island 14 G101+ R119 (30) SL HS HR LADDER G101+ R119 (31) SL HS Island 3 Island 4 G101+ R119 Chan Purpose Position Color (32) SL HS AP PIPE G101+ R119 (33) SL HS Island 6 G101+ R119 (34) SL HS ELECTRIC 1 G101+ R119 (35) SL HS ELECTRIC 1 G101+ R119 (36) SL HS ELECTRIC 1 G101+ R119 (37) SL HS ELECTRIC 5 G101+ R119 (38) SL HS ELECTRIC 5 G101+ R119 (41) SR HS HL LADDER L711+ R119 (42) SR HS Island 15 L711+ R119 (43) SR HS Island 16 L711+ R119 (44) SR HS Island 16 L711+ R119 (45) SR HS Island 10 Island 11 L711+ R119 (46) SR HS HL LADDER L711+ R119 (47) SR HS Island 7 L711+ R119 (48) SR HS Island 8 L711+ R119 (49) SR HS Island 9 L711+ R119 (50) SR HS Island 3 Island 4 L711+ R119 (51) SR HS Island 1 L711+ R119 (52) SR HS Island 2 L711+ R119 (53) SR HS Island 3 Island 4 L711+ R119 (56) SR HS ELECTRIC 1 L711+ R119 (57) SR HS ELECTRIC 1 L711+ R119 (58) SR HS ELECTRIC 1 L711+ R119 (61) DN LT Island 15 Island 16 L162 (62) DN LT Island 11 Island 17 Island 19 L162 (63) DN LT Island 20 Island 21 L162 (64) DN LT Island 2 Island 7 L162 University of Florida School of Thetare and Dance / Lightwright 5 (1) thru (64)

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CHEAT SHEET Page 2 of 4 4/2/17 SPRING AWAKENING This is not a hookup or instrument schedule. Do not assume items on the same line relate to each other. Chan Purpose Position Color (65) DN LT Island 3 Island 4 SPAN PIPE L162 (67) DN LT Island 5 Island 14 L162 (68) DN LT AP PIPE L162 (69) DN LT AP PIPE L162 (70) DN LT AP PIPE L162 (71) DN LT ELECTRIC 1 L162 (72) DN LT ELECTRIC 1 L162 (73) DN LT ELECTRIC 1 L162 (81) BK LT Island 8 Island 9 L197 (82) BK LT Island 9 Island 11 Island 12 L197 (83) BK LT Island 12 Island 13 L197 (84) BK LT Island 5 Island 6 L197 (85) BK LT Island 3 Island 4 L197 (87) BK LT Island 2 Island 7 L197 (88) BK LT ELECTRIC 1 L197 (89) BK LT ELECTRIC 1 L197 (90) BK LT ELECTRIC 1 L197 (91) BK LT ELECTRIC 4 L197 (92) BK LT ELECTRIC 4 L197 (93) BK LT ELECTRIC 4 L197 (94) BK LT ELECTRIC 6 L197 (101) SET TEX... HL LADDER G885 (102) SET TEX... HL LADDER G885 (103) SET TEX... HR LADDER G885 (104) SET TEX... HR LADDER G885 (105) SET TEX... DOOR TE... ELECTRIC 4 R4230 (106) DOOR TE... ELECTRIC 5 R4230 (107) SET TEX... ELECTRIC 5 R4230 Chan Purpose Position Color (111) TRUSS T... ELECTRIC 1 L502 L791 (113) TRUSS T... ELECTRIC 8 L791 (114) TRUSS T... ELECTRIC 8 G842 (121) Texture for... SR LATERA... R4215 (122) BK LT W... SR LATERA... NC (131) DROP TE... ELECTRIC 9 G885 (132) DROP TE... ELECTRIC 9 G885 (133) DROP TE... ELECTRIC 9 G885 (134) DROP TE... ELECTRIC 9 G885 (141) WINDOW... Island 1 NC (142) WINDOW... Island 2 NC (201) FR LT Island 9 L709+ R119 (202) SIDE LT BOOM-BOX 2 NC (203) DN LT Island 1 L162 (204) FACE LT SET-BOX 2 R3202 (205) GENERA... SET-BOX 1 R3202 (206) FR LT Island 12 L709+ R119 (207) SIDE LT BOOM-BOX 1 NC (208) DN LT Island 6 L162 (209) FACE LT SET-BOX 1 R3202 (210) GENERA... SET-BOX 2 R3202 (301) FR LT ELECTRIC 1 L709+ R119 (302) FR LT ELECTRIC 1 L709+ R119 (303) DN LT ELECTRIC 5 L197 (308) DN LT ELECTRIC 8 L197 (311) FR LT ELECTRIC 1 L709+ R119 (312) DN LT ELECTRIC 5 L197 (313) WINDOW... BOH NC (321) SCROLLER SR BOOM Scroll 5 Scroller (322) SCROLLER SR BOOM SL BOOM Scroll 5 Scroller (323) TEXTURE HL LADDER G888 (324) TEXTURE HR LADDER G888 University of Florida School of Thetare and Dance / Lightwright 5 (65) thru (324)

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CHEAT SHEET Page 3 of 4 4/2/17 SPRING AWAKENING This is not a hookup or instrument schedule. Do not assume items on the same line relate to each other. Chan Purpose Position Color (331) SCROLLER SIDE LT SR BOOM Scroll 6 Scroller (332) SCROLLER SIDE LT SL BOOM Scroll 6 Scroller (401) MOVER SR CALIPHE... NC (402) MOVER SL CALIPHE... NC (403) MOVER SR DECK NC (404) MOVER SL DECK NC (405) MOVER ELECTRIC 2 NC (406) MOVER ELECTRIC 2 NC (407) MOVER ELECTRIC 2 NC (408) MOVER ELECTRIC 7 NC (409) MOVER ELECTRIC 7 NC (410) PLATFOR... ELECTRIC 8 NC (411) PLATFOR... ELECTRIC 7 NC (412) Cyc Texture ELECTRIC 12 NC (413) Cyc Texture ELECTRIC 12 NC (415) DEEP BL... ST FLOOR NC (417) TREE LT SL LATERA... NC (421) GRAVE TRAP IN SET NC (422) GRAVE E... ST FLOOR NC (423) FOGGER ST FLOOR NC (501) ROCK LTS HL L201 (502) ROCK LTS HL L201 (503) ROCK LTS HL L201 (504) ROCK LTS HR L201 (505) ROCK LTS HR L201 (506) ROCK LTS HR L201 (511) ROCK LTS SR BOOM L201 (512) ROCK LTS SR BOOM L201 (513) ROCK LTS SR BOOM L201 (514) ROCK LTS SL BOOM L201 (515) ROCK LTS SL BOOM L201 (516) ROCK LTS SL BOOM L201 (521) ROCK LTS AP PIPE L201 (522) ROCK LTS AP PIPE L201 (523) ROCK LTS AP PIPE L201 (524) ROCK LTS AP PIPE L201 (531) ROCK LTS ELECTRIC 3 L203 (532) ROCK LTS ELECTRIC 3 L203 Chan Purpose Position Color (533) ROCK LTS ELECTRIC 3 L203 (534) ROCK LTS ELECTRIC 3 L203 (601) DN WASH HL LADDER L705 (602) DN WASH HR LADDER L705 (603) DN WASH AP PIPE L705 (604) DN WASH AP PIPE L705 (605) DN WASH AP PIPE L705 (606) DN WASH AP PIPE L705 (607) DN WASH ELECTRIC 3 L705 (608) DN WASH ELECTRIC 3 L705 (609) DN WASH ELECTRIC 3 L705 (610) DN WASH ELECTRIC 3 L705 (611) DN WASH ELECTRIC 6 L705 (612) DN WASH ELECTRIC 6 L705 (613) DN WASH ELECTRIC 6 L705 (701) FR LT ELECTRIC 8 L709+ R119 (702) HEAVEN LT ELECTRIC 10 R4915 (703) BK LT ELECTRIC 11 R3202 (704) BK LT ELECTRIC 11 R3202 (901) DROP CO... ST FLOOR R348 (902) DROP CO... ST FLOOR A5700 (903) DROP CO... ST FLOOR A7600 (904) DROP CO... ST FLOOR L716 (921) CYC ELECTRIC 13 L777 (922) CYC ELECTRIC 13 R44 (923) CYC ELECTRIC 13 R48 (924) CYC ELECTRIC 14 R376 (925) CYC ELECTRIC 14 R125 (926) CYC ELECTRIC 14 R370+L116 (951) SPECIAL HL ROH PIPE NC (952) SPECIAL HL ROH PIPE NC (953) SPECIAL HL ROH PIPE NC (954) SPECIAL HL ROH PIPE NC (955) SPECIAL HL ROH PIPE NC University of Florida School of Thetare and Dance / Lightwright 5 (331) thru (955)

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CHEAT SHEET Page 4 of 4 4/2/17 SPRING AWAKENING This is not a hookup or instrument schedule. Do not assume items on the same line relate to each other. Chan Purpose Position Color (956) SPECIAL HL ROH PIPE NC (961) SPECIAL HR ROH PIPE NC (962) SPECIAL HR ROH PIPE NC (963) SPECIAL HR ROH PIPE NC (964) SPECIAL HR ROH PIPE NC (965) SPECIAL HR ROH PIPE NC (966) SPECIAL HR ROH PIPE NC (1001) CROSS LT Island 11 SPAN PIPE R3203 + R132 (1002) CROSS LT Island 10 Island 11 R3203 + R132 (1011) BOX 1 B... HL BOX L709+ R119 (1012) SPECIAL HL BOX NC (1013) SPECIAL HL BOX NC (1014) SPECIAL HL BOX NC (1015) SPECIAL HL BOX NC (1016) SPECIAL HR BOX NC (1017) SPECIAL HR BOX NC (1018) SPECIAL HR BOX NC (1019) SPECIAL HR BOX NC (1020) SPECIAL HR BOX NC (3001) WORK LI... Island 24 Island 36 NC University of Florida School of Thetare and Dance / Lightwright 5 (956) thru (3001)

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184 APPENDIX I PRODUCTION EQUIPMENT

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Lighting BRINGING IMAGINATION TO LIGHT Lighting BRINGING IMAGINATION TO LIGHT LIGHTING WASH PAR 56 & 64/AL 57 Alexander St., Yonkers, NY 10701Tel: 914-476-7987Visit our website at www.altmanlighting.com 2012 Altman Stage Lighting, Inc. Altman PARs are low-cost, highly exible 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 PAR64's optional PAR56/64 adapter ring gives the xture 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 lm remotes and architectural applications where maximum exibility 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 sacri" cing durability. PAR56 PAR64 PAR64-AL Catalog Numbers 300-500 WATT PAR 64 & PAR 64-AL Features Constructed of rugged sheet steel (PAR56/64) or rolled aircraft aluminum (PAR64-AL) 360¡ lamp rotation Hinged rear cover for easy lamp access Spring loaded accessory holder safety latch Mogul-end prong socket Three position yoke adjustment Three 36" Te! on lead wires Color 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/AL) Made in the USA Project: Location: Approval Date: Fixture Type: Model Lamp *See following page for lamp data PAR 56 300-1000 WATT A sig ar e a serve m The smaller siz PAR64's optional PAR56/6 4 a beams and lamp ranges fr om for the PAR64, these lights are remotes and architectural a pp compact package. The PAR64-AL is a PAR64 unit co nst imize weight without sacrificing du rab PAR56 PAR64 Three-position yoke adjustment 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) PAR56 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

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Lighting BRINGING IMAGINATION TO LIGHT Lighting BRINGING IMAGINATION TO LIGHT LIGHTING WASH PAR 56 & 64/AL 57 Alexander St., Yonkers, NY 10701Tel: 914-476-7987Visit our website at www.altmanlighting.com 2012 Altman Stage Lighting, Inc. Materials: Construction employs all corrosionresistant materials and hardware. Housing: Spun, rolled, and stamped steel (PAR56, PAR64) or aluminum (PAR64-AL). Yoke: Rigid at steel for PAR56 and PAR64, rigid at aluminum for PAR64-AL. Socket: Mogul-end prong. Tool free relamping. Rating: 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 and PAR64-AL. Cable: 36" Te! on leads encased in black sleeving. Focusing: Lamp can be rotated 360¡. Accessories: Standard 7.5" x 7.5" accessories for PAR56; 10" x 10" accessories for PAR64 and PAR64AL. Wire mesh safety screen included for PAR56, PAR64 and PAR64-AL. Finish: Black epoxy sandtex, electrostatic application (PAR56 and PAR64) or brushed aluminum nish outside, at baked black enamel inside (PAR64-AL). Weight: Approx. 9 lbs. (4.1 kg) for PAR56; approx. 11 lbs. (5.0 kg) for PAR64; approx 8 lbs. (3.6 kg) for PAR64-AL. Lamps: Accessories: Photometrics: Speci cations: Model NumberSupplied with the xture 6-CFBBlack Color Frame 7.5"x7.5" (PAR56) 8-CFBBlack Color Frame 10"x10" (PAR64/AL) SC-36-BK36" Black Safety Cable w/ Spring Clip Additional Accessories 510Malleable Iron Pipe Clamp for 3/4"-1 1/2" Pipe 6-BD-44 door, 8 leaf barndoors (PAR56) 6-SNSnoot, Black (PAR56) 8-BD-44 door, 8 leaf barndoors (PAR64/AL) 8-SNSnoot, Black (PAR64/AL) PAR56/64-ARAdapter ring (for PAR64 & PAR64-AL only) Watts ANSI code Order code Color temp. (¡K) Rated life (hrs) Rated lumens Beam shape Candlepower (cd) Beam angle Field angle 300--90-300PAR56/NSP280020001,800NSP70,0008¡x10¡15¡x20¡ 300--90-300PAR56/MFL280020002,000MFL24,00011¡x23¡20¡x35¡ 300--90-300PAR56/WFL280020002,100WFL10,00018¡x37¡30¡x60¡ 500--90-500PAR56/NSP300040004,900NSP96,0008¡x13¡15¡x32¡ 500--90-500PAR56/MFL300040005,700MFL43,00010¡x26¡20¡x42¡ 500--90-500PAR56/WFL300040005,725WFL19,00020¡x44¡34¡x66¡ PAR64, PAR64-AL Lamp Information 500--90-500PAR64/NSP280020003,000NSP110,0007¡x12¡13¡x20¡ 500--90-500PAR64/MFL280020003,400MFL35,00011¡x13¡20¡x35¡ 500--90-500PAR64/WFL280020003,500WFL12,00020¡x42¡35¡x65¡ 1000--90-Q1000P64/NSP300040008,500NSP180,0008¡x15¡14¡x31¡ 1000--90-Q1000P64/MFL3000400010,000MFL80,00012¡x28¡22¡x45¡ 1000--90-Q1000P64/WFL3000400013,500WFL33,00024¡x48¡45¡x72¡ 1000FFN90-FFN320060011,000VNSP400,0006¡x12¡10¡x24¡ 1000FFP90-FFP320060012,000NSP330,0007¡x14¡14¡x26¡ 1000FFR90-FFR320060014,000MFL125,00012¡x28¡21¡x44¡ 1000FFS90-FFS320060019,000WFL40,00024¡x48¡45¡x71¡ Distance10'20 30'40'50'60' Lamp Center beam fc ht.()w.() Center beam fc ht.()w.() Center beam fc ht.()w.() Center beam fc ht.()w.() Center beam fc ht.()w.() Center beam fc ht.()w.() 90-300PAR56/NSP7002.63.51755.37.1787.910.64410.514.1-----------90-300PAR556/MFL2403.56.3607.112.62710.618.91514.125.2-----------90-300PAR56/WFL1005.411.52510.723.11116.134.6621.446.2-----------90-500PAR56/NSP9602.65.72405.311.51077.917.26010.522.93813.228.7-----90-500PAR56/MFL4303.57.71087.115.44810.623.02714.130.71717.638.4-----90-500PAR56/WFL1906.113.04812.226.02118.339.01224.552.0830.665.0-----90-500PAR64/NSP1,1002.33.52754.67.11226.810.6699.114.14411.417.6-----90-500PAR64/MFL3503.56.3887.112.63910.618.92214.125.21417.631.5-----90-500PAR64/WFL1206.312.73012.625.51318.938.2825.251.0531.563.7-----90-Q1000P64/NSP1,8002.55.54504.911.12007.416.61139.822.87212.327.7-----90-Q1000P64/MFL8003.98.32007.816.68911.724.95015.633.13219.441.4-----90-Q1000P64/WFL3308.314.58316.629.13724.943.62133.158.11341.472.7-----90-FFN4,0001.84.31,0003.58.54455.312.82507.017.01608.821.311110.525.5 90-FFP3,3002.54.68254.99.23677.413.92069.818.513212.323.19214.827.7 90-FFR1,2503.78.03137.416.213911.124.37814.832.35018.540.43522.248.5 90-FFS4008.314.310016.628.54424.942.82533.157.01641.471.31149.785.6 w. ht.

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ETC 1 of 5 GENERAL INFORMATIONThe ETC ColorSource Spot brings together the affordability of a four-color light engine with the build-quality and support of an ETC product. Using a unique mix of red, green, blue and lime LED emitters, the ColorSource spot allows for an amazing range of color and depth, unlike other low-cost LED xtures. Because it utilizes standard ETC optics, adapters and accessories, it is a versatile solution for any lighting need. APPLICATIONS Houses of worship Universities and schools Hospitality Retail Exhibition centers Meeting rooms Clubs Cafetoriums PRODUCT FEATURES ETCs new RGB-L array (Red, Green, Blue and Lime) Also available in Deep Blue that replaces the blue LEDs with indigo for rich, saturated blues and magentas Simple user interface with seven-segment display PowerCon in and thru DMX/RDM in and thru (5-pin XLR or RJ45) LED droop compensation Optically calibrated Tour-ready, aluminum housing ORDERING INFORMATION ColorSource Spot Light Engine with Shutter Barrel (For use with xed-eld lens tubes only) MODEL DESCRIPTION CSSPOTS-0 ColorSource Spot with shutter barrel, black CSSPOT45S-0 ColorSource Spot RJ45 with shutter barrel, black CSSPOTDB-0 ColorSource Spot Deep Blue with shutter barrel, black CSSPOTDB45S-0 ColorSource Spot Deep Blue RJ45 with shutter barrel, black ColorSource Spot Light Engine Body (For use with zoom lens tubes and adapters and for retrot of existing xtures) MODEL DESCRIPTION CSSPOT-0 ColorSource Spot, body only, black CSSPOT45-0 ColorSource Spot RJ45, body only, black CSSPOTDB-0 ColorSource Spot Deep Blue, body only, black CSSPOTDB45-0 ColorSource Spot Deep Blue RJ45, body only, blackColor options: -1 = white, -5 = silver gray/custom colors Fixture ships with a soft-focus diffuser in a gobo holder and a 1.5m PowerCON power-input cable with a connector of choice. See page 2 for connector options.Please note: Lens tubes to be ordered separately. ColorSource SeriesColorSource Spot

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2 of 5 SPECIFICATIONSGENERAL ETL Listed to UL1573: the standard for stage and studio lighting units IP20-rated for indoor use Power and DMX in/thru connections for easy setup Simple seven-segment, three-button interface with easy access to 12 customizable presets and ve sequences PHYSICAL Rugged, die-cast, all-metal housing Available in black (standard), white, silver or custom colors (contact factory) C-clamp included Positive-locking double-clutch xture body Slot for glass or stainless steel patterns and soft-focus diffuser Wide accessory slot with sliding cover for motorized pattern devices or optional iris Hanging yoke standard. Optional yoke/oor-stand available ELECTRICAL 100VAC to 240VAC 50/60Hz universal power input PowerCon power in and thru connections Up to nine ColorSource Spot xtures (15A max) may be linked via power thru connector (10 ColorSource Spot luminaires total per circuit) when used with R20 Relay Module or Unison Echo Relay Panel Consult breaker-trip curves when used with other equipment. Requires power from a non-dim source Inrush 120V: 28A (First half-cycle) 240V: 46A (First half-cycle) LED* 20,000-hour LED life (20,000 hours to 70% intensity) 60 Luxeon Rebel LED emitters*See additional LED notes on page threeCOLOR Exclusive RGB-L color array Available with a Deep Blue array that replaces blue with indigo Brightness and color range unlike any other four-color system. Optical calibration for consistency from xture to xture Droop compensation for consistent output and color accuracy OPTICAL Use the included soft-focus diffuser for creating washes or soft light Best performance using ETCs EDLT lens tubes Can use all ETC Source Four interchangeable lens barrels: 5, 10, 14, 19, 26, 36, 50, 70, and 90 eld angles, as well as 19, 26, 36, and 50 EDLT lenses For better performance, use the LED 50 barrel Can be used with Source Four LED CYC and Fresnel adapters CONTROL Available with DMX512 in and thru via ve-pin XLR or RJ45 connectors (Termination Required) Simple RGB control (IRGBS prole) See DMX Control Table for additional information 15-bit virtual dimming engine provides smooth, high-quality theatrical fades and minimizes color shift during dimming RDM functionality for address and setting change Local control of presets (12) and sequences (5) ETCColorSource SeriesColorSource Spot SPECIFICATIONSTHERMAL Ambient operating temperature of 32 to 104F (0 to 40C) Active electronic thermal management for droop-free operation Quiet fan cooling Fixture is designed for continuous operation up to 104F (40C) ambient temperature and requires free ow of air around xture housing ADDITIONAL ORDERING INFORMATION Power Input Cables Use information below to order 5 power input leads with factory-tted connectors MODEL DESCRIPTION DPA-A 5ft PowerCon to parallel blade U-ground (Edison) connector DPA-B 5ft PowerCon to 20A two-pin and ground (stage pin) connector DPA-C 5ft PowerCon to grounded 20A twistlock connector DPA-X 5ft PowerCon to bare-end power input lead Power Thru Jumpers Note: Power thru jumpers connect to xtures output (thru) connector to provide link to successive xtures MODEL DESCRIPTION DPJ-5 5ft PowerCon-to-PowerCon xture-to-xture jumper DPJ-10 10ft PowerCon-to-PowerCon xture-to-xture jumper Diffusers MODEL DESCRIPTION S4LED-SFD Source Four LED Soft Focus Diffuser (included) S4LED-SWD6 Source Four LED Smooth Wash Diffuser for 6.25in gel frame slots S4LED-SWD7 Source Four LED Smooth Wash Diffuser for 7.5in gel frame slots S4LED-SWD12 Source Four LED Smooth Wash Diffuser for 10 lens tubes S4LED-SWD14 Source Four LED Smooth Wash Diffuser for 5 lens tubes The Soft Focus Diffuser ts into a standard A-size pattern holder and delivers beautiful, homogenized light when not in sharp focus. Also, use with patterns for dappled and soft-edge projections. The Smooth Wash Diffuser is used when extra-smooth blending of multiple ColorSource Spot luminaires is required. The smooth wash diffuser is placed into the gel-frame slot of the lens tube.RJ45 to XLR Adapter Cables MODEL DESCRIPTION W6538 RJ45 to female ve-pin XLR adapter (6ft) W6539 RJ45 to male ve-pin XLR adapter (6ft)

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3 of 5 PREFERRED LENSING OPTIONS (Lenses sold separately)Fixed Beam Lenses MODEL DESCRIPTION LED50LT LED-specic 50 EDLT with lenses installed LED50LT-1 LED-specic 50 EDLT (white) with lenses installed 436EDLT 36 EDLT w/lens installed 436EDLT-1 36 EDLT (white) w/lens installed 426EDLT 26 EDLT w/lens installed 426EDLT-1 26 EDLT (white) w/lens installed 419EDLT 19 EDLT w/lens installed 419EDLT-1 19 EDLT (white) w/lens installed 490LT 90 w/lens installed 490LT-1 90 (white) w/lens installed 470LT 70 w/lens installed 470LT-1 70 (white) w/lens installed 414LT 14 w/lens installed 414LT-1 14 (white) w/lens installed 410LT 10 w/lens installed 410LT-1 10 (white) w/lens installed 405LT 5 w/lens installed 405LT-1 5 (white) w/lens installed Zoom Lens Assemblies Use with light-engine body models. MODEL DESCRIPTION 41530LT Source Four 15-30 Zoom lens assembly 42550LT Source Four 25-50 Zoom lens assemblyLED Adapters MODEL DESCRIPTION S4LEDCYC Source Four LED CYC S4LEDFRES Source Four LED Fresnel Power Consumption With RGB at full MODEL VOLTAGE (V) CURRENT (A) MAX POWER (W) ColorSource Spot 100 1.48 148 120 1.24 147 230 0.65 141 ETCColorSource SeriesColorSource Spot ADDITIONAL ORDERING INFORMATION Fixture Accessories MODEL DESCRIPTION 400CC C-Clamp (included) 400SC Safety Cable 400PH-A Pattern holder (A size) 400PH-B Pattern holder (B size) 400PH-G Glass pattern holder 400RS Drop-In Iris 400CF Color frame (6.25) 407CF 7.5in square color frame 400DN Donut 400TH Top Hat 400HH Half Hat DPSJ-X 25ft PowerCon to Edison input power cable with inline switch NOTES ABOUT LED LUMINAIRESAll LED sources experience some lessening of light output and some color shift over time. LED output will vary with thermal conditions. Based on the LED manufacturers B50 L70 specication, a ColorSource Spot luminaire will achieve ~70% of its initial output after 20,000 hours of typical usage. In individual situations, LEDs will be used for different durations and at different levels. This can eventually lead to minor alterations in color performance, necessitating slight adjustments to presets, cues or programs.

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ETCColorSource SeriesColorSource Spot COLORSOURCE VS COLORSOURCE DEEP BLUE 4 of 5

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5 of 5 PHOTOMETRYSee ColorSource Spot Photometry Guide available at www.etcconnect.com PHYSICAL ColorSource Spot Weights WEIGHT* SHIPPING WEIGHT lbs kgs lbs kgs With Barrel 17 7.7 22 10 Without Barrel 13 5.9 16.3 7.4* Does not include mounting hardware or lens tubeColorSource Spot Dimensions HEIGHT WIDTH DEPTH in mm in mm in mm ColorSource Spot 23.33 593 13.36 339 26.44 672 ETCColorSource SeriesColorSource SpotCorporate Headquarters 3031 Pleasant View Rd, PO Box 620979, Middleton WI 53562 0979 USA Tel +1 608 831 4116 Fax +1 608 836 1736 London, UK Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU, UK Tel +44 (0)20 8896 1000 Fax +44 (0)20 8896 2000 Rome, IT Via Pieve Torina, 48, 00156 Rome, Italy Tel +39 (06) 32 111 683 Fax +44 (0)20 8752 8486 Holzkirchen, DE Ohmstrasse 3, 83607 Holzkirchen, Germany Tel +49 (80 24) 47 00-0 Fax +49 (80 24) 47 00-3 00 Hong Kong Room 1801, 18/F, Tower 1 Phase 1, Enterprise Square, 9 Sheung Yuet Road, Kowloon Bay, Kowloon, Hong Kong Tel +852 2799 1220 Fax +852 2799 9325 Web www.etcconnect.com Copyright ETC. All Rights Reserved. All product information and specications subject to change. 7413L1001 Rev. C USA 03/2016U.S. and international patents pending. 7.42 188mm 8.07 205mm 9.72 247mm 23.33 593mm 7.94 202mm 13.36 339mm 20.11 511mm 23.97 609mm 26.44 672mm 12.13 308mm 16.64 423mm maximum maximum maximum minimum Min. height 14.98 380mm 10.61 269mm

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PRODUCT DATA Leviton Mfg. C o., Inc. Lighting Management Systems 20497 SW Teton Avenue, Portland, OR 97062 1-800-736-6682 Tech Line: 1-800-959-6004 Fax: 503-404-5594 www.leviton.com/lms 2008 Leviton Manufacturing Co., Inc. All rights reserved. Subject to change without notice. FEATURES One-light through three-light models equipped with male connectors on one end and female connectors on the other end for convenient feed-through and curve lighting applications Four-light through nine-light equipped with center feed mail connectors for easy installation Wide range of tungsten halogen lamps for maximum flexibility Heavy duty sockets for improved cooling and lamp life One piece reflector for high output Cyc Strip Cyc Strip SPECIFICATIONS Housing shall be constructed of aluminum and steel. MECHANICAL Optical Train shall consist of a recessed single contact, double ended, base tungsten halogen lamp, specular random patterned reflector, and an easily accessible socket assembly for lamp replacement. Socket assembly UL listed, steatite insulated, rated for 600 volts, 3000 watts, 200C continu ous operation. Rated lamp seal temperatures shall not be exceeded. Mounting heavy steel trunion plates for floor mounting and malleable iron, painted C-clamp for up to 2 I.D. pipe. Cable: 36 cable with 3-wire braided glass leads with connector as specified by catalog number below. Note, information provided is approximate and should be used accordingly. Color, composition, height, and reflectivity of cycloramas vary with instal lation. Lighting requirements vary with these factors. Contact your Leviton representative for complete planning and application details. LIGHTS CIR CUITS FEED & L OC ATION AMPS PER CIR CUIT CONNE C TOR RATING 1 1 1 male connector/circuit, left 8.3 20 ampere 1 female connector/circuit, right 2 2 1 male connector/circuit, left 8.3 20 ampere 1 female connector/circuit, right 3 3 1 male connector/circuit, left 8.3 20 ampere 1 female connector/circuit, right 4 4 1 male connector per circuit loaded center 8.3 20 ampere 6 3 1 male connector per circuit loaded center 16.6 20 ampere 8 4 1 male connector per circuit loaded center 16.6 20 ampere 9 3 1 male connector per circuit loaded center 25 30 ampere

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PRODUCT DATA Leviton Manufacturing C o., Inc. Lighting Management Systems 20497 SW Teton Avenue, Portland, OR 97062 Telephone: 1-800-736-6682 FAX: 503-404-5594 Tech Line (6:00AM-4:00PM P.S.T. Monday-Friday): 1-800-959-6004 Leviton Manufacturing of C anada, Ltd. 165 Hymus Boulevard, Pointe Claire, Quebec H9R 1E9 Telephone: 1-800-469-7890 FAX: 1-800-563-1853 Leviton S. de R .L. de C .V. Lago Tana 43, Mexico DF, Mexico CP 11290 Tel. (+52) 55-5082-1040 FAX: (+52) 5386-1797 www.leviton.com.mx Visit our Website at: www.leviton.com/lms 2008 Leviton Manufacturing Co., Inc. All rights reserved. Subject to change without notice. CAT. NO. DESCRIPTION CS1C1-50B Cyc Strip, 1 Cell, 1 Circuit, with Feed Thru CS1C1-22B One Light Cyc Strip with 2 3 cords terminated w/ Stage Pin CS1C1-42B One Light Cyc Strip with 2 3 cords terminated w/ Edison CS1C1-62B One Light Cyc Strip with 2 3 cords terminated w/ Twist-Lock CS2C1-50B Cyc Strip, 2 Cell, 1 Circuit with bare leads CS2C1-22B Two Light Cyc Strip, 1 Circuit with 2 3 cords terminated w/ Stage Pin CS2C1-42B Two Light Cyc Strip, 1 Circuit with 2 3 cords terminated w/ Edison CS2C1-62B Two Light Cyc Strip, 1 Circuit with 2 3 cords terminated w/ Twist-Lock CS2C2-50B Cyc Strip, 2 Cell, 2 Circuit, with Feed Thru and bare leads. CS2C2-22B Two Light Cyc Strip, 2 Circuit with 4 3 cords terminated w/ Stage Pin CS2C2-42B Two Light Cyc Strip, 2 Circuit with 4 3 cords terminated w/ Edison CS2C2-62B Two Light Cyc Strip, 2 Circuit with 4 3 cords terminated w/ Twist-Lock CS3C3-50B Cyc Strip, 3 Cell, 3 Circuit, with Feed Thru and bare leads. CS3C3-22B Three Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Stage Pin CS3C3-42B Three Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Edison CS3C3-62B Three Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Twist-Lock CS4C4-50B Four Light Cyc Strip, 4 Circuit with Feed Thru and bare leads. CS4C4-22B Four Light Cyc Strip, 4 Circuit with 6 3 cords terminated w/ Stage Pin CS4C4-42B Four Light Cyc Strip, 4 Circuit with 6 3 cords terminated w/ Edison CS4C4-62B Four Light Cyc Strip, 4 Circuit with 6 3 cords terminated w/ Twist-Lock CS6C3-50B Six Light Cyc Strip, 3 Circuit with Feed Thru and bare leads. CS6C3-22B Six Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Stage Pin CS6C3-42B Six Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Edison CS6C3-62B Six Light Cyc Strip, 3 Circuit with 6 3 cords terminated w/ Twist-Lock CS8C4-50B Cyc Strip, 8 Cell, 4 Circuit with bare leads CS9C3-50B Nine Light Cyc Strip, 3 Circuit with Feed Thru and bare leads. ACCESSORIES ACSCF-000 Color Frame Cyc Strip. One required per cyc strip cell. ACSHY-001 Hanging Yoke and C-clamp for 1-light Cyc strip ACSHY-002 Hanging Yoke and C-clamp for 2-light Cyc strip ACSHY-003 Hanging Yoke and C-clamp for 3-light Cyc strip ACSPF-M00 Cyc Pipe/Floor Mounting Assembly ACSSF-000 Safety Frame Cyc Strip. One required per cyc strip cell. TA0SC-000 Safety Cable 30 Cyc Strip G-6863A/B8-ak Mini-Elipse 50 ,4 0 30 A 12.87 [xxx ] B 20.12 [xxx ] C 1 3.12 [xxx ] D 1 6.37 [xxx ] E mi n 1 6.5 [xxx ] E max 19 [xxx ] F 9 .37 [xxx ] G 7 .12 [xxx ] H 5 .25 [xxx ] Lens Position Char t 30 4 0 50 4.5 [xxx] X 6.5 [xxx] Len s 4.5 [xxx] X 6.5 [xxx] Lens positions C A B C A B cy c No. Lights 1 2 3 4 6 9 A 1 3.2 [33.3 cm ]2 3.6 [60.0 cm] 34.2 [86.8 cm ]4 4.6 [113.3 cm ]6 5.6 [166.7 cm] 96.2 [249.2 cm ] B 1 5.0 [xxx] 15.0 [xxx] 15.0 [xxx] 15.0 [xxx] 15.0 [xxx] 15.0 [xxx ] C 1 0.5 [xxx] 10.5 [xxx] 10.5 [xxx] 10.5 [xxx] 10.5 [xxx] 10.5 [xxx ] D 1 4.0 [xxx] 14.0 [xxx] 14.0 [xxx] 14.0 [xxx] 14.0 [xxx] 14.0 [xxx ] A C A B 50/50 Elipsoidals 20 -50 10 5 A 15.0 [xxx] 15.0 [xxx ]1 5.0 [xxx] B 25.5 [xxx] 25.5 [xxx ]2 5.5 [xxx ] C 16.5 [xxx] 16.5 [xxx ]1 8.0 [xxx] D mi n2 4.0 [xxx] 26.5 [xxx ]3 5.5 [xxx] D ma x2 8.0 [xxx] 29.5 [xxx ]4 0.5 [xxx] E 10.5 [xxx] 10.5 [xxx ]1 8.0 [xxx] Studio Fresnal 1kW 2k W 5 kW A 1 4.25 [40 cm ]1 7.37 [47.75 cm] 20.187 [55 cm ] B 1 8.5 [51 cm ]2 2.0 [60.5 cm ]2 4.87 [68.4 cm ] C 1 0.0 [25.7 cm ]1 2.0 [33 cm] 13.25 [36.5 cm ] D 1 2.75 [35 cm ]1 6.0 [44 cm] 16.5 [45 cm ] A A B B cy c No. Lights 1 2 3 4 A 19.6 [xxx] 35.8 [xxx] 51.9 [xxx] 36.3 [xxx ] B 36.5 [xxx] 36.5 [xxx] 36.5 [xxx] 43.5 [xxx ] A B Mini Ligh t A 1 1.37 [xxx ] B 1 3.5 [xxx ] C 1 0.25 [xxx ] D 7.0 [xxx] E 6 .62 [xxx ] C A C B A B C Set Ligh t A 1 1.14 [xxx] B 15.25 [xxx] C 11.14 [xxx] D 8.0 [xxx] Mini Ligh t A 1 1.37 [xxx] B 13.5 [xxx ] C 10.25 [xxx] D 7.0 [xxx] E 6 .62 [xxx ] Mini Soft Ligh t A 2 3.0 [xxx ] B 17.25 [xxx] C 10.75 [xxx] D 6.5 [xxx] E 8 [xxx ] Mini Soft Ligh t A 2 6.75 [xxx] B 27.62 [xxx] C 22.0 [xxx ] D 1 0 [xxx ] Mini Soft Ligh t A 2 3.0 [xxx ] B 1 7.25 [xxx] C 1 0.75 [xxx] D 6.5 [xxx] E 8 [xxx ] Mini Soft Ligh t A 26.75 [xxx] B 27.62 [xxx] C 2 2.0 [xxx] D 10 [xxx ] A B C A B C A DIMENSIONAL D ATA IN. [CM] LBS. [KG] LIGHTS 1 2 3 4 6 8 9 A 13.2[33.3] 23.6[60.0] 34.2[86.6] 44.6[113.3] 65.6[166.7] x.x[x.x] 98.2[249.2] B 15 [38.10] 15 [38.10] 15 [38.10] 15 [38.10] 15 [38.10] 15 [38.10] 15 [38.10] C 14 [35.56] 14 [35.56] 14 [35.56] 14 [35.56] 14 [35.56] 14 [35.56] 14 [35.56] Wt. 16[7.2] 25[11.34] 35[15.75] 45[20.24] 64[28.8] x.x[x.x] 92[41.4] LEVITON SPE CIFIC ATION SUBMITTAL JOB NAME: CATALOG NUMBERS: JOB NUMBER:

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MAC Viper Performance The MAC Viper Performance is a full feature framing fixture that delivers an output and performance never before seen in a fixture this size or one using so little power. Unlike other fixtures in this class, the MAC Viper Performance does not forgo an iris or animation wheel they are both included along with a framing system and rotating gobos. The framing system consists of four shutter blades that can all individually adjust +/ 30 while the entire system can rotate +/ 55. The exacting system can repeat each cue with great precision. When fully focused, gobos can be nicely framed with a soft edge. The MAC Viper Performance has adopted the compact form, impressive speed, superior light quality and beautiful colors that the MAC Viper Profile is renowned for and uses the same 1000 watt lamp. 26000 Lumens Excellent light quality with a very flat and uniform field and 6000K color temperature 1:4zoom Fast zoom with auto linked focus Four shutter blades individually adjust +/ 30 while the entire system rotates +/ 55. Repeats cues with great precision FEATURES TECHNICAL SPECIFICATIONS Physical 26000 Lumens Excellent light quality with a very flat and uniform field and 6000K color temperature 1:4zoom Fast zoom with auto linked focus Four shutter blades individually adjust +/ 30 while the entire system rotates +/ 55. Repeats cues with great precision Large aperture front lens The 140 mm front lens exceeds the size of any other fixture in this segment for just the right fat beam look 5 rotating gobos All glass gobos with only a slight focal separation to the framing system Animation wheel with continuous bi directional rotation CMY Vibrant color mixing with a superior palette of colors including true reds, rich ambers, primary green and deep blues 7 slot color wheel Static colors and correction filters for added color choice and bump effects Linear CTO Daylight to tungsten CCT control and expansion of the CMY palette Dimmer and shutter Combined dimmer/shutter system with intensity effects, instant blackout/open and smooth fades Iris Fast and tight iris with adjustable dynamic effects Strobe Diverse strobe effects using mechanical or electronic control or in combination Soft frost A light frost leaves gobo artwork visible with a beautiful soft edge. Includes a linear focus blurring option 4 facet prism Real beam separation with rotation and index control for dynamic effects and accurate tiling Length (base): 472 mm (18.6 in.) Length (head): 566 mm (21.6 in.) 2015 Martin Professional Olof Palmes All 18 8200 Aarhus N Denmark Phone: +45 87 40 00 00 Fax: +45 87 40 00 10 www.martin.com Images contained in this brochure have been converted to CMYK and are not necessarily representative of actual colors. Specifications are subject to change without notice

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Dynamic Effects Control and Programming Lamp Optics Service Utilities Construction Gobos Installation Connections Electrical Typical Power and Current Thermal Width: 472 mm (18.6 in.) Width (base): 335 mm (13.2 in.) Height (head straight up): 731 mm (28.8 in.) Height (maximum): 748 mm (29.4 in.) Weight: 37.9 kg (83.6 lbs.) Minimum center to center distance in side by side installation: 650 mm (25.6 in.) Color mixing: CMY, independently variable 0 100% Color temperature control: CTO, variable 6000 3200 K Color wheel: 7 interchangeable dichroic filters + open, indexing, continuous rotation, random color Aerial wheel: 5 interchangeable texture/breakup gobos + open, indexing, continuous rotation and shake Gobo animation: Interchangeable animation wheel, indexing, continuous rotation with variable speed and direction Framing: Rotatable framing module, +/ 55, with 4 individually controllable blades Prism: Interchangeable 4 facet rotating prism Iris: 0 100% Frost: Variable Mechanical dimmer/shutter: 0 100% continuous dimming, variable & random strobe & pulse effects, instant open & blackout Dimming options: Choice of four dimming curves Focus: Range varies with zoom angle, from 2 m / 6 m to infinity (approx.) Zoom focus linking system: 3 zone Zoom: Motorized Pan: 540 Tilt: 268 Position correction system: Absolute position monitoring DMX channels: 32/40 Setting and addressing: Control panel with backlit graphic display and jog wheel or via DMX 16 bit control: Dimming, rotating gobos, zoom, focus, pan and tilt DMX compliance: USITT DMX512 A RDM compliance: ANSI/ESTA E1.20 Receiver: Opto isolated RS 485 Firmware update: USB memory device or USB/DMX hardware interface over DMX link Type: 1000 W short arc discharge Color temperature: 6000 K CRI (Color rendering index): >85 Average lifetime: 750 hours Socket: PGJX36 Ballast: Electronic Approved lamps: Osram Lok it! 1000/PS Brilliant, Philips MSR Gold MiniFastFit 1000W Zoom range: 10 44 (1:4) Output: 26 000 lm Fixture identification: User settable fixture ID number Color(s): Black Housing: UV resistant fiber reinforced composite Reflector: Glass, cold light Protection rating: IP20 Size: E27 (Size E, max. image diameter 27 mm) Approved material: Borosilicate 3.3 or better with dichroic or heavy matted aluminum coating (metal gobos not approved) Outside diameter: 37.5 mm +0/ 0.2 mm (1.5 +0/ 0.01 in.) Maximum image diameter: 27 mm (1.1 in.) Maximum thickness: 1.1 mm +/ 0.1 mm (0.1 in. +/ 0.01 in.) Mounting points: Eight quarter turn locking points Orientation: Any Minimum distance to illuminated surfaces: 3.4 m (11.2 ft.) Minimum distance to combustible materials: 0.3 m (1.0 ft.) AC power input: Neutrik PowerCon DMX and RDM data in/out: 5 pin locking XLR USB memory devices: USB host socket AC power: 120 240 V nominal, 50/60 Hz Power supply unit: Auto ranging electronic switch mode Typical half cycle RMS inrush current: 16.2 A 120 V, 60 Hz: 1225 W, 10.3 A, PF 0.999 208 V, 60 Hz: 1190 W, 5.8 A, PF 0.996 230 V, 50 Hz: 1186 W, 5.2 A, PF 0.994 240 V, 50 Hz: 1194 W, 5.0 A, PF 0.993 Measurements made at nominal voltage. Allow for a deviation of +/ 10%.: PF = power factor: Cooling: Filtered forced air (temperature regulated, low noise) Maximum ambient temperature (Ta max.): 40 C (104 F) Minimum ambient temperature (Ta min.): 5 C (41 F) 2015 Martin Professional Olof Palmes All 18 8200 Aarhus N Denmark Phone: +45 87 40 00 00 Fax: +45 87 40 00 10 www.martin.com Images contained in this brochure have been converted to CMYK and are not necessarily representative of actual colors. Specifications are subject to change without notice

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Approvals Included Items Accessories Related Items Spare Parts Ordering Information Shipping Information ACCESSORIES Maximum surface temperature, steady state, at 40 C ambient: 150 C (302 F) Total heat dissipation (calculated, +/ 10% at 120 V, 60 Hz): 4180 BTU/hr EU safety: EN 60598 2 17 (EN 60598 1), EN 62471 EU EMC: EN 55015, EN 55103 1, EN 55103 2, EN 61547 US safety: UL 1573 US EMC: FCC Part 15 Class A Canadian safety: CSA E598 2 17 (CSA E60598 1) Canadian EMC: ICES 003 Class A Australia/NZ: C TICK N4241 Lamp (installed): P/N 97010346 Two Omega clamp attachment brackets with 1/4 turn fasteners: P/N 91602001 Safety and installation manual: P/N 35000258 Power cable, 12 AWG, SJT, with Neutrik PowerCon NAC3FCA input connector, 3 m (9.9 ft.): P/N 11541503 Neutrik PowerCon NAC3FCA power input connector, cable mount, blue: P/N 05342804 Omega clamp attachment bracket with 1/4 turn fasteners: P/N 91602001 T shaped omega clamp attachment bracket with 1/4 turn fasteners: P/N 91602008 Half coupler (tube) clamp: P/N 91602005 G clamp (suspension with yoke vertically downwards only): P/N 91602003 Quick trigger clamp (suspension with yoke vertically downwards only): P/N 91602007 Safety cable, safe working load 50 kg (110.3 lbs.): P/N 91604003 Flightcase for 2 x MAC Viper: P/N 91510180 Martin USB Duo DMX Interface Box: P/N 90703010 Martin RDM 5.5 Splitter: P/N 90758150 Osram HTI 1000/PS Lok it lamp: P/N 97010346 Air filter, head, MAC Viper (sold in multiples of 12): P/N 20800270 MAC Viper Performance in cardboard box: P/N 90233100 MAC Viper Performance in double flightcase: P/N 90233110 In cardboard carton: Shipping dimensions (LxWxH): 580 x 450 x 870 mm (22.9 x 17.8 x 34.3 in.) Shipping weight: 41 kg (90.4 lbs.) Quantity on pallet: 8 fixtures Pallet dimensions (LxWxH): 1200 x 1000 x 1860 mm (47.3 x 39.4 x 73.3 in.) Pallet weight (incl. pallet): 350 kg (771.7 lbs.) In double flightcase: 3m pwr.cable w.PwrCon NAC3FCA, AWG12 SJT P/N: 11541503 Air filter P/N: 20800280 Filter support plate P/N: 23821750 Flightcase for 2 x MAC Viper P/N: 91510180 G Clamp P/N: 91602003 Gobo, Light Lines, D37.5/d27, hm glass P/N: 43092023 Gobo, Limbo Crystal, D37.5, tex. glass, P/N: 62325152 Gobo, Ray Brush, D37.5/d27, hm glass P/N: 43092020 2015 Martin Professional Olof Palmes All 18 8200 Aarhus N Denmark Phone: +45 87 40 00 00 Fax: +45 87 40 00 10 www.martin.com Images contained in this brochure have been converted to CMYK and are not necessarily representative of actual colors. Specifications are subject to change without notice

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Gobo, Ray Flowers, D37.5/d27, hm glass P/N: 43092029 Gobo, To Boldly Go, D37.5/d27, hm glass P/N: 43092022 Half coupler clampfor P/N: 91602005 Omega bracket with 1/4 turn fasteners P/N: 91602001 Osram HTI 1000/PS Lok it P/N: 97010346 PowerCon NAC3FCA Power Input Connector P/N: 05342804 Quick trigger clamp .1 51mm P/N: 91602007 Safety wire, 50kg SWL P/N: 91604003 T shape Omega bracket w 1/4 turn P/N: 91602008 2015 Martin Professional Olof Palmes All 18 8200 Aarhus N Denmark Phone: +45 87 40 00 00 Fax: +45 87 40 00 10 www.martin.com Images contained in this brochure have been converted to CMYK and are not necessarily representative of actual colors. Specifications are subject to change without notice

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The VARI LITE VL1100 ERS luminaire, borne from the very popular VL1000 ERS luminaire, combines the functionality of one of the most popular conventional lighting tools — the ellipsoidal reflector spotlight — with the versatility of an automated luminaire. All VL1100 models have undergone design enhancements to provide more quiet and fluid operation. Automated functions include CYM color mixing, rotating gobos (gobos/patterns sold separately), variable diffusion and a zoom lens that ranges from 19 to 36 for normal imaging and a super zoom function that ranges to 70. A new 50 kHz. drive system quiets all two-phase motors both when moving and static. A central bearing system in the gobo wheel reduces noise and ensures smooth operation of the mechanism. Additionally, new, three-phase, ultra quiet stepper motors provide for smoother and quieter pan and tilt operation. Models VL1100AI and VL1100AS deliver more than 15,000 lumens with the higher color temperature of the 575 watt arc source. These models also include a mechanical dimmer and a truss-mounted, fanless ballast. The VL1100AS model includes an automated, four-blade shutter mechanism that provides control of all shutter functions popular in conventional ellipsoidal reflector spotlights. The VL1100AI model includes a beam size iris.VL1100 AS / AI V L 1 1 0 0 A S / A I a u t o m a t e d e l l i p s o i d a l r e f l e c t o r s p o t l i g h tArc UnitsProgrammable FunctionsZoom Optics: Continuously variable field angle in imaging range from 19 to 36, super zoom angles to 70 is programmable over a timed range of 2 seconds to 20 minutes. Color Mixing System: A fully cross-fading CYM color system. All motors utilize a noise reducing, 50kHz. drive system that quiets operation during movement and also while static. Diffusion: Field or gobo can be continuously and smoothly diffused to wash. Dimmer: A coated glass dimmer wheel provides full-field dimming designed for smooth timed fades. Rotating Gobo Wheel: Six position rotating gobo wheel with a central bearing system, five rotatable and indexable gobo positions plus open. (Patterns are not included with the fixture.) Shutter (Framing Models): Four-blade system can frame and crop beam field and gobos. Each individual shutter is capable of translating to beam center while also rotating 35. Entire shutter rotates 45. Beam Size Control (Iris Models): In addition to the zoom optics, a mechanical iris provides continuous beam size control for both rapid changes and smooth timed beam angle changes. Pan and Tilt: Smooth, timed continuous motion using three phase, ultra quiet stepper motors with encoder correction. Pan range is 540; tilt is 270. Resolution is 0.1. Unit will calibrate to support close hangs (yoke-to-yoke).DescriptionSources: 575 W Arc Lamp, Phillips MSR 575HR (or equivalent) Color Temp: 6000K CRI: 95 Output: >15,000 Lumens Rated Life: 1,000 Hours Optional Source: 575 W Arc Lamp, Phillips MSD 575HR (or equivalent) Color Temp: 5900K CRI: 75 Output: >14,000 Lumens Rated Life: 2,000 Hours Power Requirements: 3 to 9 Amps depending upon input voltage. 90 -264 VAC 50/60 Hz. Reflector: Precision glass reflector with dichroic cold mirror coating. Operational Temperature: -20 to 122F (-29 to 50C) Cooling: Free convection cooling when hung. Floor mounted units and extreme ambient temperatures activate a low-noise, forced-air cooling system. Control: Completely compatible with a wide variety of DMX512 lighting control consoles. Mounting Position: VL1100 ERS luminaires can be mounted and operated in any orientation. Spacing: Full range of motion on 26.5" centers. Hangs as close as 20.0". Weight: Luminaire: 70.0 lbs (32.0 kg) / Ballast: 16.6 lbs (7.52 kg).Ordering InformationLuminaires: 20.9664.0001.12 VL1100AS ERS, Arc, Framing Shutters, Includes 575W Arc Lamp 20.9664.0001.12.02 VL1100AS ERS, Arc, WHITE, Framing Shutters, Includes 575W Arc Lamp 20.9664.0001.13 VL1100AI ERS, Arc, Iris, Includes 575W Arc Lamp 20.9664.0001.13.02 VL1100AI ERS, Arc, WHITE, Iris, Includes 575W Arc Lamp Accessories: 71.2528.0575 575 Watt Arc Lamp, MSR575HR 71.2556.0575 575 Watt Long-Life Arc Lamp, MSD575HR 22.9620.0194 Safety Cable 28.8500.0054 USB Luminaire Programming Kit 55.6840.0001 Truss Hook, Mega-Clamp, Round and Square 55.6841.0001 Truss Hook, Mega-Claw for 2” Round Tube 41.6010.XXXX Gobo, Series 1000 (Specify pattern from catalog to complete P/N.)

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Vari-Lite 10911 Petal Street Dallas, TX 75238 1.877.VARILITE fax: 214.647.8038 www.vari-lite.comVL1100 AS / AI V L 1 1 0 0 A S / A I a u t o m a t e d e l l i p s o i d a l r e f l e c t o r s p o t l i g h tArc UnitsArc Ballast Unit Description:Input Voltage Range: 90 to 275V, Auto Ranging Frequency: 50 or 60 Hz Current Range: 2.7 to 9.0A* Power Factor: 0.97 Output Open Circuit Voltage: 450V Lamp Voltage: 100V Lamp Current: 6.25A* Lamp Power: 625W* Output Current Shape: Square wave Output Frequency: 200Hz* High Frequency Ripple Current: 3% Nominal ValuesSpecificationsThe unit shall be an integrally designed, remote-controlled, automated ellipsoidal reflector spot luminaire. An integral enclosure/pan tube supports the luminaire with provisions for two hooks. The pan tube serves as an interconnection point for power and data. Low noise fans provide forced-air cooling for internal components during extreme opera ting conditions. The rear cap provides three-point lamp adjustment and easy access to the lamp for replacement. An AC input connector, a remote ballast interconnect cable and two, five-pin DMX512 compatible connectors (in and through) are provided. The unit can be controlled by a wide variety of DMX512 consoles. Each unit shall be equipped with a high-speed processor providing diagnostic and self-calibration functions as well as internal test routines and software update capabilities. A yoke arm mounted panel and display provide the user interface. The unit shall contain 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 luminaire calibrates to minimize hanging distances. A zooming multi-element optical system provides continuous focus of gobo images for field angles from 19 to 36. A super zoom function provides field angles to 70. Independent control of edge is provided. A CYM color mixing system shall be provided for a broad range of user color selection. A variable diffusion stage shall be included. This stage provides controlled reduction of the contrast ratio of imagery and beam edges. The effect is a continuous transition from spotlight to floodlight. A six-position gobo wheel with five rotatable, indexable gobo positions and one open position shall be included. A central bearing system in the gobo wheel shall reduce noise and ensure smooth operation of the mechanism. Gobos are easily installed and removed. (A wide selection of gobos are available from Vari-Lite.) Framing shutter models contain four shutter blades that translate radially across the beam. Each individual shutter is capable of translating to beam center while also rotating 35. The framing shutter mechanism rotates as a unit 45. Iris models contain a beam size iris suitable for producing narrow beams and cropping gobos. A 50 kHz. drive system shall quiet all two phase motors in the luminaire both when moving and static. The unit is ETL and ETLc certified and CE marked. The unit's exterior finish shall be available in black or white.VL1100AS/AI_102412 Photometric Data*VL1100 ERS 575W Metal Halide VL1100 ERS 575W Metal Halide (Long Life) 19.0 27.0 36.5 70.0 (Super Zoom) 19.5 27.0 36.0 70.0 (Super Zoom) .335 .480 .660 1.40 .344 .480 .650 1.40 13.0 18.0 24.0 28.5 13.5 18.5 24.5 28.0 .228 .317 .425 .508 .237 .326 .434 .499 235,300 123,700 66,500 31,600 205,400 104,900 56,400 27,000Notes: All data taken with seasoned light source at 20 hours of life.1 Multiply distance by Tn to determine coverage. To calculate center beam Illuminance (I), at a specific distance (D): I = cd I D2 — if (D) is in feet, (I) is in foot candles — if (D) is in meters, (I) is in lux 26" (66cm) 26.5" (67.3cm) 34.5" (87.6cm) 17.5" (44.5cm) Weight & Dimensions Mounting Position: Ballast can be mounted in any orientation. Weight: 16.6 lbs (7.52 kg) 4.54" (11.5 cm) 13.43" (34.1 cm) 11.56" (29.4 cm)Shown with accessories that are sold separately.2010-2012 Philips Group. All rights reserved. Printed in the U.S.A. We reserve the right to change details of design, materials and finishes. Specifications are subject to change without notice. VARI LITE automated lighting equipment is made in the U.S.A.

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VL3000 Spot V L 3 0 0 0 S p o t l u m i n a i r eProgrammable FunctionsColor System: A three-filter CYM cross-fading mechanism. A fixed color wheel with six interchangeable color filters and continuous wheel rotation for additional effects. It includes a variable CTO color temperature correction filter. Zoom Optics: A 13-element 6:1 zoom optics system, covering a range from 10 to 60. Beam Size Control: A mechanical iris provides continuous beam size control for rapid and smooth timed beam angle changes. Intensity Control: Full field dimming designed for smooth timed fades as well as quick dimming effects. Strobe: High-performance dual blade strobe system capable of ultra-fast operation. Rotating Gobo Wheels: Three gobo/effects wheels combine to provide 14 rotatable, indexable gobo positions. Each wheel also has one open position. Edge and Pattern Focus: Variable beam focus to soften edges of gobos or spots. Remarkable depth of field capability allows morphing effects between all pattern and effects wheels. Pan and Tilt: Smooth, time-controlled continuous motion by way of three-phase stepper motor systems. Range: Pan 540, Tilt 270. Accuracy: 0.3 resolution.DescriptionSource: 1200W Short Arc Lamp Color Temperature: 6000K CRI: 85 Fixture Output: 20,000 lumens. Power Requirements: Standard AC power distribution from 200– 264 VAC, 50/60 HZ. The unit requires 7 to 12 A depending on the AC supply voltage. Reflector: Precision glass reflector system with dichroic cold mirror coating. Operational Temperature: -20 to 122F (-29 to 50C). Cooling: Forced air cooling. Control: Completely compatible with a wide variety of DMX512 consoles. DMX Channels: 28 Mounting Position: The VL3000 Spot luminaire can be mounted and operated in any orientation. Spacing: Hangs on 26 in. (66 cm) centers. Weight: 91 lbs (41 kg).Ordering InformationLuminaires: 20.9678.0001 VL3000 Spot Luminaire, Black, Includes 1200W Short Arc Lamp Accessories: 71.9678.0012 1200W Short Arc Lamp 22.9620.0194 Safety Cable Assembly 28.8500.0054 USB Luminaire Programming Kit 55.6840.0001 Truss Hook, Mega-Clamp (For round and square pipe) 55.6841.0001 Truss Hook, Mega-Claw (For 2” round pipe) PC1BE AC Input Cable, PowerCon with Bare End (no connector), 1 Meter PC1GTL208 AC Input Cable, PowerCon with Twist Lock (Male), 250V, 1 Meter The VARI LITE VL3000 Spot luminaire sets new standards for imagery, beam control, color and brightness in spot luminaires. The VARI LITE VL3000 Spot luminaire features 6:1 zoom optics, CYM color mixing, variable CTO color temperature correction, a six-position color wheel, three gobo/effects wheels, a beam size iris and separate dimmer and ultra-fast strobe mechanisms. A standard pallet of gobos, effects and colors is provided with the unit. Custom gobos, effects and colors are available. An upper enclosure houses the control electronics as well as the arc power supply for the 1200 watt short arc lamp. The arc power supply is power factor corrected for efficient power distribution. The VL3000 Spot luminaire can be controlled from a wide variety of DMX512 consoles. The luminaire is the same size as the VL3000 Wash luminaire, providing a consistent hang configuration and appearance no matter which luminaire type is required.

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Vari-Lite 10911 Petal Street Dallas, TX 75238 1.877.VARILITE fax: 214.647.8038 www.vari-lite.comSpecificationsThe unit is an integrally designed, remote-controlled, motorized spot luminaire. The head, yoke and enclosure housings are constructed of aluminum alloy for light weight, strength and durability. Low-noise 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 PowerCon connection along with two, five-pin DMX512 compatible connectors (in and through) are provided. The unit can be controlled from a wide variety of DMX512 consoles. Each unit is equipped with an o n-board processor 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. A 6:1 zoom optics system adjusts the projected field angle over a range of 10 to 60. Variable beam focus is provided to soften the edges of gobos or spots and to provide gobo morphing. The projected image remains in focus throughout the entire zoom range. The unit contains a CYM color mixing system, as well as variable CTO color temperature correction. One continuously spinning, removable color filter wheel is included. The color wheel holds six interchangeable dichroic colors to allow for custom configurations. The unit comes equipped with a standard palette of dichroic color filters. (Custom colors are available from Vari-Lite.) Three gobo/effects wheels – two six-position, one five-position – each containing individually rotating, indexable gobos and patterned glass effects. The rotating gobos are easily interchangeable to allow customization of the unit. The unit comes equipped with a standard set of gobos and effects. (A wide selection of colored and patterned gobos and effects is available from Vari-Lite.) A mechanical iris provides continuous beam size control for rapid and smooth timed beam angle changes. The unit contains a patterned glass dimmer wheel that provides full field dimming and allows for smooth timed fades and fast blackouts. A dual blade strobe and dousing system provides variable strobe effects capable of rapid operation. The unit shall be ETL and ETLc certified and CE-marked. Exterior finish is black.VL3000_Spot 073013NAVL3000 Spot V L 3 0 0 0 S p o t l u m i n a i r e2013 Philips Group. All rights reserved. Printed in the U.S.A. We reserve the right to change details of design, materials and finishes. Specifications are subject to change without notice. VARI LITE automated lighting equipment is made in the U.S.A. Hanging Dimensions VL3000 Spot Luminaire 1200W Metal HalideZoom Lens Position NFOV MFOV WFOV Candela* (cd) 1,201,000 104,400 40,930 Beam Angle (degrees) 9.0 31.0 46.0 Beam Diameter TN10.157 0.555 0.849 Field Angle (degrees) 10.0 35.0 56.0 Field Diameter TN10.175 0.631 1.063 1 Multiply distance by TN to determine coverage. To calculate center beam Illuminance (I), at a specific 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 = 20,000 lumens.Photometric Data*

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Page 1 of 3 PRODUCT NUMBERSU2600 / 204 42600 0000 Stik-Up Kit in a Box SU2610 / 204 42610 0000 Stik-Up (incl arms & clips no lamp) SU2150 / 204 42630 0001 Stik-Up Road Case Only (for kit of 3) SU2020 / 204 43100 0120 Stik-Up Lamp 100w x 120v SU2022 / 204 43125 0012 Stik-Up Lamp 125w x 12vDC SU2021 / 204 43150 0120 Stik-Up Lamp 150w x 120v SU2023 / 204 43200 0120 Stik-Up Lamp 200w x 120v SU2024 / 204 43200 0230 Stik-Up Lamp 200w x 230v GAM Product #SU2610 Rosco Product #204 42610 0000 PRODUCT SPECIFICATIONS PRODUCT DESCRIPTION www.rosco.com COMPACT SINGLE SOURCE LUMINAIRE Operates at 120, 230 or 12 volts AC or DC 100W, 3000 Kelvin source ideal for ll light 100 thru 200 watt lamps to choose from Its a soft-light, key-light, back-light, ll-light, all in one Can be battery operated with 12V lamp Plug into car lighter socket Stik-up is a small, durable incandescent luminaire weighing only 4 ounces. Light wire frame construc tion allows you to mount it where you need it in any position by almost any means. Tape it to a stand, cam era dolly, scenery or furniture. Hang it by picture wire, stick it up with gaffer tape, alligator clip, even a clothespin! Snap-on arms for color lters or diffusion materials. The three light kit is avail able in a light weight foam pad ded case, ready to go on location wherever you need it. The kit contains three heads with extension arms and lamps of your choice. Length: 4 in (10.16 cm) Width: 3 in (7.62 cm) Depth: 3 in (7.62 cm) Weight: 9 oz. (255.14 g) Finish: Powder coated 21 guage standard steel and 13 guage steel wire SU2600 / 204 42600 0000 Stik-Up Kit in a Box

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Page 2 of 3www.rosco.com .746 (18.94 mm) 1.072 (27.22 mm) 1.543 (18.94 mm).135 (x8) (7.18 mm) .254 (6.45 mm).251 (6.37 mm) 1.237 (31.41 mm) 1.516 (38.5 mm) .25 (x4) (6.35 mm) .117 x2 (3.3 mm) .25 x2 (6.35 mm) .218 x4 (5.53 mm)2.29 (58.16 mm) 1.516 (38.6 mm) .52 (13.2 mm) 1.645 (41.91 mm) 2.771 (70.38 mm) 3.29 (83.56 mm) .447 (11.35 mm) 2.84 (72.13 mm) 2.53 (64.26 mm) 2.25 (57.15 mm) 2.53 (64.26 mm) 2.25 (57.15 mm) 14 14 14 14 .135 x8 (3.42 mm) Distance from edge same for both plates 3.29 (83.56 mm) 3.1 (78.74 mm) 2.602 (66.09 mm) 2.89 (73.4 mm) 2.89 (73.4 mm) 3.077 (78.15 mm) .29 (83.56 mm) .375 (9.52 mm) .5 (76.45 mm) 3.1 (78.74 mm) .092 x4 (2.33 mm) .435 (11.04 mm) .238 (6.04 mm) .584 (14.83 mm) 2.706 (68.73 mm) 3.04 (77.21 mm) 1.373 (34.87 mm) .092 x4 (2.41 mm) weld spots .251 (6.37 mm) 2.03 (51.56 mm) ZPSU-013 ZPSU-014 ZPSU-015 ZPSU-016 ZPSU-017WIRE FRAME PARTS ZPSU-013

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3 12 2 Page 3 of 3www.rosco.com 1 ZPSU-01 / 204 49SU0 1000 Frames 2 ZPSU-02 / 204 49SU0 2000 Powercords 3 ZPSU-03 / 204 49SU0 3000 Reectors 4 ZPSU-04 / 204 49SU0 4000 Insulator Gasket 5 ZPSU-05 / 204 49SU0 5000 Lamp Socket 6 ZPSU-06 / 204 49SU0 6000 Terminal Blk Metal Anchor 7 ZPSU-07 / 204 49SU0 7000 Black Cable Tie Anchor #8 8 ZPSU-08 / 204 49SU0 8000 4-40 x1/2 Phlps Pn HdBlk screw 9 ZPSU-09 / 204 49SU0 9000 No. 4 Flat Washer Steel Blk 10 ZPSU-10 / 204 49SU1 0000 Screw 4/40x5/8 Phlps Pan hdbk 11 ZPSU-11 / 204 49SU1 1000 4-40 Reg Hex Nut Stl Blk 12 SU2624 / 204 44624 0001 Mounting Block 13 SU2620 / 204 44620 0002 Extension Arms (Set of 2) 14 SU2623 / 204 44623 0002 Black Clothes Pin (Set of 2) ACCESSORIES / REPLACEMENT PARTS 1 7 8 10 9 11 13 6 4 5

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S pecifications subject to change without notic e 1 0 0 3" Fre s nel C atalo g Number 100 3 7 7 7 8 2 1 1 8 4 1 1 4 7 1 1 2 5 1 1 4 5 1 1 4

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Catalo g Number 100 1 0 3 4 2 3 .5 55.0 445 0 14 7 5 9 2 2 100 S po t Fl ood 10 0 100 3" Fresnel2 8 5 0 3000 20 0 1000 1660 1900 100 G 1 6 1 / 1 2 / / 2 9 D C 100Q/CL/DC 88 1.00 –– ESR B

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F-100PERFORMANCE FOG GENERATORUser Guide High End Systems, Inc. 2105 Gracy Farms Lane Austin, TX 78758 U.S.A. (512) 836-2242 www.highend.com Copyright High End Systems 1995, all rights reserved. p/n 60600021 Version 3.0

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Technical Data Sheet Revised 01/22/10 www.highend.com MECHANICAL SPECIFICATIONSConstruction and Mounting Information: This product is constructed with a low-ma intenance, corrosion-resistant vaporizing chamber and dual carrying handles. A safety cable mounting point can be used in securing the unit when strapped to a truss. Colors Available: Black ELECTRICAL SPECIFICATIONS Power Consumption: 100 120 VAC 50/60 Hz or 200-240 VAC 50/60 HZ Rated Power: 1500 W maximum OUTPUTFluid capacity: 9.5 liter (2.5 gal) fluid reservoir Minimum Output: 566 m3 (20,000 ft3) Warm-up Time: 11 min Liquid Sensor: Optoelectronic with auto shutoff Fluid Type: Water-based Atmospheres fine partic ulate fog generating fluid. HQ, Stage OPERATIONMenu Interface: Timer to set interval and duration Volume control DMX Channel setting Manual ON/OFF Continuous fogging settingLCD Display Compliance: ROHS, TUV 499 (UL standard) Environmental Specifications: Minimum ambient temperature -5 C (23F) Maximum ambient temperature 50C (122F) DMX CONTROLDMX Control: DMX-512 DMX Channel Requirement: One Address Methods: Menu Display DMX/RDM Data Connectors: 3-pin and 5-pin male and female XLR connectors PART NUMBERSFIXTURE BOXED FOR SHIPPING Dimensions:Dimensions: mm: 646 x 301 x 168 mm: 740 x 410 x 602 in: 25.4 x 11.9 x 6.6 in: 29.0 x 16.1 x 23.7 Fixture Weight: 15.5 kg (34 lb) Shipping Weight: 19 kg (42 lb) 301mm 11.9in 646mm 25.4in 627mm 24.7in 168mm 6.6in 65mm 2.6in 16mm 0.6in 15010014: FOGGER, FQ-100 110V 15010015: FOGGER, FQ-100 230V 05040001: Atmospheres Liquid, 2.11 Gal HQ 05040002: Atmospheres, 5 Gal HQ 05040004: Atmospheres, 2.11 Gal Stage 05040005: Atmospheres, 5 Gal Stage 05040018: Atmospheres, 55 Gal Stage 05040019: Atmospheres, 55 Gal HQ 2009, Barco Lighting Systems, Inc. All specifications s ubject to change without notice. Barco Lighting Systms, Inc. 2105 Gracy Farms Lan Austin, TX 78758 USA voice:512.836.2242 fax:512.837.5290 Toll Free: 800.890.8989 Customer Service 2105 Gracy Farms Lane Austin, TX 78758 USA voice:800.890.8989 fax: 512.834.9195 Toll free: 800.890.8989

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User ManualBarco Lighting Systems, 2010, All Rights Reserved Information and specifications in this document are subject to change without notice. High End Systems, Inc. assumes no respon sibility or liability for any errors or inaccuracies that may appear in this manual. Trademarks used in this text: High End Systems is a registered trademark; and the High End Systems globe logo, is a trademark of High End Systems, Inc.. Other trademarks and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. High End Systems disclaims any proprietary interest in trad emarks and trade names owned by others. FQ-100 Performance Fog Generator User Manual p/n Version 1.0 January, 2010

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ii Contact InformationU.S. and the Americas Sales Department Barco Lighting Systems 2105 Gracy Farms Lane Austin, TX 78758 USA voice:512.836.2242 fax:512.837.5290 Toll Free: 800.890.8989 Customer Service Barco Lighting Systems 2105 Gracy Farms Lane Austin, TX 78758 USA voice:800.890.8989 fax: 512.834.9195 toll free: 800.890.8989 World Wide Web: http://www.highend.com

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ii Contact InformationU.S. and the Americas Sales Department Barco Lighting Systems 2105 Gracy Farms Lane Austin, TX 78758 USA voice:512.836.2242 fax:512.837.5290 Toll Free: 800.890.8989 Customer Service Barco Lighting Systems 2105 Gracy Farms Lane Austin, TX 78758 USA voice:800.890.8989 fax: 512.834.9195 toll free: 800.890.8989 World Wide Web: http://www.highend.com

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iii Product Modification WarningHigh End Systems products are designed and manufactured to meet the requirements of United States and International safety regulations. Modifications to the product could affect safety and render the prod uct non-compliant to relevant safety standards. Mise En Garde Contre La Modification Du Produit Les produits High End Systems sont conus et fabriqus conformment aux exigences des rglements internationaux de scurit. Toute modification du produit peut entraner sa non conformit aux normes de scurit en vigueur. Produktmodifikationswarnung Design und Herstellung von High End Systems entsprechen den Anforderungen der U.S. Amerikanischen und internationalen Sicherheitsvorschriften. Abnderungen dieses Produktes knnen dessen Sicherhe it beeintrchtigen und unter Umstnden gegen die diesbezglichen Sicherheitsnormen verstoen. Avvertenza Sulla Modifica Del Prodotto I prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti delle normative di sicurezza statunit ensi ed internazionali. Qualsiasi modifica al prodotto potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di sicurezza pertinenti. Advertencia De Modificacin Del Producto Los productos de High End Systems estn diseados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales. Las modificaciones al producto podran afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes.Important Safety InformationWarnings pertaining to continued protection against fire, electric shock, and injury to persons are at the end of this document. Please read all instructions prior to assembling, mounting, and operating this equipment. Important: Informations De Scurit la fin de ce document, vous mai trouver des instructions relatives la protection continue contre les incendies, d'lectrocution et de blessures aux personnes. Veuillez lire toutes les instructions avant dÂ’assemb ler, de monter ou dÂ’utiliser cet quipement. Wichtige Sicherheitshinweise Warnungen im Zusammenhang mit anhalten den Schutz gegen Feuer, Stromschlgen und Verletzungen von Personen sind am Ende dieses Dokuments. Vor der Montage, dem Zusammenbau und der Intbetriebnahme dieses Gerts alle Anleitungen sorgfltig durchlesen.

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iii Product Modification WarningHigh End Systems products are designed and manufactured to meet the requirements of United States and International safety regulations. Modifications to the product could affect safety and render the prod uct non-compliant to relevant safety standards. Mise En Garde Contre La Modification Du Produit Les produits High End Systems sont conus et fabriqus conformment aux exigences des rglements internationaux de scurit. Toute modification du produit peut entraner sa non conformit aux normes de scurit en vigueur. Produktmodifikationswarnung Design und Herstellung von High End Systems entsprechen den Anforderungen der U.S. Amerikanischen und internationalen Sicherheitsvorschriften. Abnderungen dieses Produktes knnen dessen Sicherhe it beeintrchtigen und unter Umstnden gegen die diesbezglichen Sicherheitsnormen verstoen. Avvertenza Sulla Modifica Del Prodotto I prodotti di High End Systems sono stati progettati e fabbricati per soddisfare i requisiti delle normative di sicurezza statunit ensi ed internazionali. Qualsiasi modifica al prodotto potrebbe pregiudicare la sicurezza e rendere il prodotto non conforme agli standard di sicurezza pertinenti. Advertencia De Modificacin Del Producto Los productos de High End Systems estn diseados y fabricados para cumplir los requisitos de las reglamentaciones de seguridad de los Estados Unidos e internacionales. Las modificaciones al producto podran afectar la seguridad y dejar al producto fuera de conformidad con las normas de seguridad relevantes.Important Safety InformationWarnings pertaining to continued protection against fire, electric shock, and injury to persons are at the end of this document. Please read all instructions prior to assembling, mounting, and operating this equipment. Important: Informations De Scurit la fin de ce document, vous mai trouver des instructions relatives la protection continue contre les incendies, d'lectrocution et de blessures aux personnes. Veuillez lire toutes les instructions avant dÂ’assemb ler, de monter ou dÂ’utiliser cet quipement. Wichtige Sicherheitshinweise Warnungen im Zusammenhang mit anhalten den Schutz gegen Feuer, Stromschlgen und Verletzungen von Personen sind am Ende dieses Dokuments. Vor der Montage, dem Zusammenbau und der Intbetriebnahme dieses Gerts alle Anleitungen sorgfltig durchlesen.

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iv Informazioni Importanti Di Sicurezza Alla fine di questo documento, si possono trovare le istruzioni per una protezione continua contro gli incendi, sco sse elettriche e lesioni alle persone. Si prega di leggere tutte le istruzioni prima di assemblare montare e azionare lÂ’apparecchiatura. Informacion Importante De Seguridad Al final de este documento, usted puede encontrar instrucciones para la proteccin continua contra el fuego, descarga elctric a y lesiones a personas. Lea, por favor, todas las instrucciones antes del ensamblaje, montaje y operacin de este equipo.Warranty InformationLimited WarrantyUnless otherwise stated, your product is covered by a one year parts and labor limited warranty. Dichroic filt ers and LithoPatterns high resolution glass gobos are not guaranteed against breakage or scratches to coating. It is the ownerÂ’s responsibility to furnish receipts or invoices for veri fication of purchase, date, and dealer or distributor. If purchase date cannot be provided, date of manufacture will be used to determine warranty period.Returning an Item Under Warranty for RepairIt is necessary to obtain a Return Materi al Authorization (RMA) number from your dealer or point of purchase BEFORE an y units are returned for repair. The manufacturer will make the final determinat ion as to whether or not the unit is covered by warranty. Lamps are covered by the lamp manufacturerÂ’s warranty. FQ-100 fog generators must be returned in its original roadcase. Any other parts returned to High End Systems must be packaged in a suitable manner to ensure the protection of such Product unit or parts, and such package shall be clearly and prominently marked to indicate that the package contains returned Product units or parts and with an RMA number. Accompany all returned Product units or parts with a written explanation of the alleged problem or malfunction. Ship returned Product units or parts to: 2105 Gracy Farms Lane, Austin, TX 78758 USA.Note:Freight Damage Claims are invalid for fixtures shipped in non-factory boxes and packing materials.FreightAll shipping will be paid by the purchaser. Items under warranty shall have return shipping paid by the manufac turer only in the Continental United States. Under no circumstances will freight colle ct shipments be accepted. Prepaid shipping does not include rush expediting such as air freight. Air freight can be sent customer collect in the Continental United States. REPAIR OR REPLACEMENT AS PROVIDED FOR UNDER THIS WARRANTY IS THE EXCLUSIVE REMEDY OF THE CONSUMER. HIGH END SYSTEMS, INC. MAKES NO WARRANTIES, EXPRESS OR IMPLIED, WITH RESPECT TO ANY PRODUCT, AND HIGH END SPECIFICALLY DISCLAIMS ANY WARRA NTY OF MERCHANTABILITY OR FITNESS

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v FOR A PARTICULAR PURPOSE. HIGH END SHALL NOT BE LIABLE FOR ANY INDIRECT, INCIDENTAL OR CONSEQUENT IAL DAMAGE, INCLUDING LOST PROFITS, SUSTAINED OR INCURRED IN CONNECTION WITH ANY PRODUCT OR CAUSED BY PRODUCT DEFECTS OR THE PARTIAL OR TOTAL FAILURE OF ANY PRODUCT REGARDLESS OF THE FORM OF ACTION, WHETHER IN CONT RACT, TORT (INCLUDING NEGLIGENCE), STRICT LIABILITY OR OTHERWISE, AND WHETHER OR NOT SUCH DAMAGE WAS FORESEEN OR UNFORESEEN. Warranty is void if the product is misuse d, damaged, modified in any way, or for unauthorized repairs or parts. This warran ty gives you specific legal rights, and you may also have other rights which vary from state to state.

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vii FQ-100 Fog Generator User ManualTable of ContentsUser Manual ................................................................................i Contact Information ...................................................................ii Product Modification Warning .....................................................iii Important Safety Information .....................................................iii Warranty Information ................................................................iv Limited Warranty ................................................................iv Returning an Item Under Warranty for Repair ........................iv Freight ..............................................................................ivProduct OverviewFeatures ....................................................................................1 Output ....................................................................................1 Construction ............................................................................1 Options ...................................................................................1 Fluid Types ..............................................................................1 Specifications .............................................................................2 Mechanical ...............................................................................2 Output ....................................................................................2 Operation ................................................................................3 DMX Control ............................................................................3 Related Products and Accessories ..................................................3Installation and SetupUnpacking ..................................................................................4 Installing the FQ-100 ...................................................................5 Setup ........................................................................................6 Mounting .................................................................................6 Filling the Tank ........................................................................6 Starting up the Unit ..................................................................6OperationMenu System .............................................................................7 Function Options .........................................................................7 Interval Set .............................................................................7 Duration ..................................................................................7 Timer Output ...........................................................................7 Volume Output .........................................................................8 DMX Addressing ..........................................................................8 Manual Operation ........................................................................8

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viii FQ-100 Fog Generator User Manual DMX Control ................................................................................8 Fluid Sensor Function ...................................................................9Maintenance and Storage........................................................10Important Safety Information................................................11 IMPORTANTES INFORMATIONS SUR LA SCURIT .......................12 WICHTIGE HINWEISE FR IHRE SICHERHEIT ..............................13 INFORMACI"N IMPORTANTE DE SEGURIDAD ..............................14 IMPORTANTI INFORMAZIONI PER LA SICUREZZA .........................15

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FQ-100 Fog Generator User Manual 1 Product OverviewThe FQ-100™ performance fog generator; designed for use in the nightclub, theatrical and touring industries; ca n produce a range of atmospheres from dense fog to fine mist. Atmospheres Fog Generating fluid is specially formulated to provide a dense, safe, wate r-based fog of a fine particulate size. In addition to low noise levels, the FQ-100 also includes an internal LCD digital menu system providing the ability to set the volume control, timer control, and DMX functions at the fixture. Features•Large 9.5 liter (2.5 gallon) remova ble fluid reservoir for extended use •Atmospheres scientifical ly formulated fluid prov ides optimum particulate size for lighting applications •LCD Menu •Timer with interval, duration, and volume; set DMX; continuous fogging, Manual ON/OFF •3-pin and 5-pin XLR DMX in/out connectors •Fluid level sight gauge •User replaceabl e fluid filterOutput•20,000 cu.ft (566m3) / min. output •10 min. / 1 liter fl uid consumption rate •11 minutes warm-up time •Optoelectronic liquid sensor with auto shutoff Construction•Low-maintenance, corrosion-res istant vaporizing chamber •Dual carrying handles •Safety cable mounting pointOptions•100-120 VAC 50/60 Hz •200-240 VAC 50/60 HzFluid Types•HQ •Stage

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FQ-100 Fog Generator User Manual 2 SpecificationsMechanicalFixture Dimensions: 646mm x 301mm x 168mm (25.4in x 11.9in x 6.6in) Boxed for Shipping: 740mm x 410mm x 602mm (29.0in x 16.1in x 23.7in) Fixture Weight: 15.5 kg (34 lb) Shipping Weight: 19 kg (42 lb)OutputFluid capacity: 9.5 liter (2.5 gal) fluid reservoir Minimum Output: 566 m3 (20,000 ft3) Warm-up Time: 11 min Liquid Sensor: Optoelectronic with auto shutoff Fluid Type: Water-based Atmospheres fine pa rticulate fog generating fluid. HQ, Stage 301mm 11.9in 646mm 25.4in 627mm 24.7in 168mm 6.6in 65mm 2.6in 16mm 0.6in

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FQ-100 Fog Generator User Manual 3 OperationMenu Interface: •Timer to set interval and duration •Volume control •DMX Channel setting •Manual ON/OFF •Continuous fogging setting •LCD Display Compliance: ROHS, TUV 499 (UL standard) Environmental Specifications: •Minimum ambient temperature -5 C (23F) •Minimum ambient temperature 50C (122F)DMX ControlControl: DMX-512 Channel Requirement: One Address Methods: Menu Display, DMX Data ConnectionRelated Products and AccessoriesNamePart Number Atmospheres Liquid, 2.11 Gal HQ05040001 Atmospheres, 5 Gal HQ05040002 Atmospheres, 2.11 Gal Stage05040004 Atmospheres, 5 Gal Stage05040005 Atmospheres, 55 Gal Stage05040018 Atmospheres, 55 Gal HQ05040019 Heavy duty 5-pin XLR cable (10’)55050017 Heavy duty 5-pin XLR cable (25’)55050018 Heavy duty 5-pin XLR cable (50’)55050019 Heavy duty 5-pin XLR cable (100’)55050020 Galvanized safety cable12040001

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FQ-100 Fog Generator User Manual 4 Installation and SetupUnpackingThe shipping carton contains the FQ-100, its fog fluid bott le, and this manual. If parts are missing or the fixture is damaged, notify both the shipping agent and your sales agent immediately. Do not discard the shipping carton an d packing materials. The carton and packing materials are specifically desi gned to protect the product during transport. High End Systems assumes no responsi bility for products that are damaged during transport. Always return a produc t for repair in its original shipping carton and packing materials. Note:Before sending anything to the factory, call your High End Systems dealer/distributor for a Return Material Authorization (RMA) number. The factory cannot accept any goods shipped without an RMA number. 1 2 4 3 3 6 789 10 11 12 51.Nozzle 2.Housing 3.Handle 4.Tank cap and tube 5.Fluid Tank 6.Safety cable mount 7.DMX 3-pin IN and OUT socket 8.DMX 5-pin IN and OUT socket 9.Power ON/OFF 10.Circuit breaker (reset) 11.Power cable 12.LCD Menu System

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FQ-100 Fog Generator User Manual 5 Installing the FQ-100This product is constructed with a low-maintenance, corrosion-resistant vaporizing chamber and dual carrying ha ndles. A safety cable mounting point can be used in securing the unit when strapped to a truss. Before installing and operating this pr oduct, read and observe the following warnings and cautions. Pay attention to all warning labels and instructions printed on the exterior of your FQ-100 Fog Machine. Caution! Do not use the handles as a safety cable mounting point. WARNING! Risk of electric shock. Disconnect the unit from the electric supply before removing the cover. Keep this device dry. For inside use only. Not designed for outside use. For the 110V models, use 3-prong grounded electrical outlet only. Prior to use take care to determine that the unit is installed at the rated voltage. WARNING! Danger of burns Never leave the unit running unattended. Never aim the output nozzle directly at people. Fog machine output is very hot. Avoid coming within 60 cm of the output nozzle during operation. Locate the fog machine in a well-ventilated area. Never cover the unit's vents. In order to guarantee adequate ventilation, allow a free air sp ace of at least 20 cm around the sides and top of the unit. Never aim the output no zzle at open flames. The output nozzle becomes very hot during operation (300C). Keep flammable mate rials at least 50 cm away from the nozzle. Always allow the FQ-100 Fog Generator to cool down before attempting to clean or service it. WARNING! Danger of explosion Never add flammable liquids of any kind (oil, gas, perfume) to the fog liquid.

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FQ-100 Fog Generator User Manual 6 SetupMountingThis model can be operated at a floor level or sitting on any regular surface. Filling the TankThis product is warran ted for use only with Atmospheres fog fluid. To fill the tank: 1.Place fog machine on a flat surface and remove fog liquid tank cap. 2.Fill with Atmospheres fog liquid about 3/4 full and replace cap.Starting up the UnitPlug the power cord into a grounded elec trical outlet. Turn the power switch to “ON”. Warm-up is complete when the display shows “ Ready to Fog ” CAUTION! Do not allow the unit to have more than a 35 angle of inclination. CAUTION! When using Atmospheres fog fluid, always make sure there is sufficient liquid in the fog liquid tank. Operating this unit without liquid will cause damage to the pump as well as over-heating of the heater. If your FQ-100 Fog Machine fails to work properly, discontinue use immediately. Drain all fog liquid from the tank, pack the unit securely (preferably in the original packing material), and return it to your FQ-100 dealer for service. Keep fog machine upright. Turn off or unplug when not in use. This machine is not water or splash-proof. If moisture, water, or fog liquid gets inside the housing, immediately unplug the unit and contact a service technician or your FQ-100 dealer before using it again. There are no user serviceable parts inside. Always refer your FQ-100 dealer or ot her qualified personnel for servicing.

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FQ-100 Fog Generator User Manual 7 OperationMenu System The FQ-100 unit has an LCD display and a six-button control panel. After the FQ-100 performance fog generator has warm ed up and is displaying “Ready to Fog”, you can access and set the sub-menu options.Function OptionsInterval Set1.When LCD displays “Ready To Fog”, press the FUNCTION button once. The display shows INTERVAL SET 2.Use the UP/DOWN buttons to adjust the fog output interval of Timer mode from 1 to 200 seconds.Duration1.When LCD displays “Ready To Fog”, press FUNCTION button twice. The display shows DURATION SET. 2.Use the UP/DOWN buttons to adjust the fog output duration of Timer mode from 1 to 200 seconds.Timer Output1.When LCD menu screen displa ys “Ready To Fog”, press FUNCTION three times. The display shows TIMER OUT 2.Use the UP/Down buttons to adjust the fog ou tput volume of Timer mode from 1% to 100%. FUNCTION VOLUME ON/OFF TIMER MANUAL

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FQ-100 Fog Generator User Manual 8 3.You can trigger the Timer mode by pressing the TIMER button when LCD menu screen shows “Ready To Fog”. Pressing TIMER button again ends the Timer mode. Note: There is a Non-Stop Bu rst function between Timer Out 1% and Timer Out 100%. Choosing this function can make machine generate cont inuous fog output under Timer mode.Volume Output1.When the LCD menu screen disp lays “Ready To Fog”, press FUNCTION four time. The screen shows VOLUME OUT 2.Use the UP/DOWN buttons to adjust the fog output volume of the Volume mode from 1% to 100%. Trigger the Volume mode by pressing the VOLUME button when LCD menu screen sh ows “Ready To Fog”. Pressing the VOLUME button again ends the Volume mode. Note: There is a Non-Stop Burs t function between Volume Out 1% and Volume Out 100%. Choosing this function can make machine generate cont inuous fog output under Volume mode.DMX Addressing1.When LCD menu screen disp lays “Ready To Fog”, press FUNCTION five times. The screen shows DMX 512 ADD 2.Use the UP/DOWN buttons to adjust the DMX address.Manual OperationPressing the MANUAL button when LCD menu screen displays “Ready To Fog” produces 100% full fo g output. Release the MANUAL button to stop fogging.DMX ControlThe FQ-100 fog generator uses 1 channel on a standard DMX512 link to control volume output. This channel has a value range of 0 to 255. Timer functions such as duration and interval can be programmed using a DMX controller. When the channel DMX value equals 0 to 5, the unit is OFF. The volume output rises as the DMX value is increased from a minimum output at a DMX value = 6 approaching the maximum at a DMX value = 255 (100%).

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FQ-100 Fog Generator User Manual 9 Fluid Sensor FunctionThe Fluid Sensor detects low flui d levels on FQ-100 fog machine. When the fluid tank is empty (run out of fog fluid), the LCD me nu screen starts to flash “Empty Fluid” to warn users and the fluid pump stops working automatically to protect the pump from burn out. After you refill the fluid tank, press the MANUAL button until the LCD screen displays to “Ready to Fog” again. When the fluid sensor is on, the LCD sc reen shows “Ready to Fog S” (The “S” means “Sensor On”). When it is off, the LCD screen shows “Ready to Fog” (without the “S”). If you do not need the fluid sensor fu nction, you can use the control panel to switch it off. To switch off the fluid sensor: 1.Press the FUNCTION button on the control pa nel until LCD screen shows "Fluid Sensor On". 2.Press the UP/DOWN button to turn off the fluid sensor. The screen displays "Fluid Sensor Off" 3.Pressing the UP/DOWN button again will turn the fluid sensor back on. CAUTION! When using Atmospheres fog fluid, always make sure there is sufficient liquid in the fog liquid tank. Operating this unit without liquid will cause damage to the pump as well as overheating of the heater.

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FQ-100 Fog Generator User Manual 10 Maintenance and StorageTo maintain the FQ-100 fog generator: •Do not allow the fog liquid to become contaminated •Always replace the caps on the fog li quid container and the liquid tank immediately af ter filling •Never operate the fog machine without liquid •Keep vented cover free of debris •Keep fluid container free of debris an d rinse periodically with Atmospheres fluid •For service, refer to qualified personne l only. Unauthorized service will void the warranty Cleaning your fog machine regularly will help reduce costly replacement and repair charges. •Clean with a dry cloth only •Store dry

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FQ-100 Fog Generator User Manual 11 Important Safety InformationWARNING: For Continued Protection Against Fire1.Do not operate near fla mmable material s or gases. 2.Do not mount on a flammable surface. 3.Replace fuses only with th e specified type and rating.WARNING: For Continued Protection Against Electric Shock1.Equipment suitable for dry locations only. Do not expose to rain or moisture. 2.Do not overfill or clean this product with power connected. 3.Refer servicing to qualified personnel. 4.Not for residential use.WARNING: For Continued Protection Against Injury To Persons1.Do not install this unit directly overhead an audience or artists. 2.No user servicable part inside. 3.Atmospheres fluid has been specifical ly designed for use in this machine. It has been tested for use by indepe ndent toxicological laboratories and found non-toxic to test articles. Use of other fluids which may not take into account specific evaporatio n systems, temperature, flow rate and materials of construction may be construed as a health hazard. Do not dilute Atmospheres fluid. Dilution with wa ter, scent or other constituents can cause rapid evaporation system fa ilure. Combining additives to Atmospheres fluid may be a health and fire hazard.

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FQ-100 Fog Generator User Manual 12 IMPORTANTES INFORMATIONS SUR LA SCURITMISE EN GARDE: Pour Une Protection Permanente Contre Les Incendies1.Ne pas utiliser ce produit a pr oximit de matriaux inflammables. 2.Ne montez pas sur une surface inflammable. 3.Remplacer les fusibles seulement avec le type spcifi et le classement.MISE EN GARDE: Pour Une Protectio n Permanente Contre Les Chocs lectriques1.1. Cet quipement doit tre uniquement utilis dans des endroits secs. Ne pas l'exposer la pluie ou l'humidit. 2.Ne surchargez pas ou nettoyer ce produit avec une puissance connecte. 3.Confiez l'entretien un personnel qualifi. 4.LÂ’utilisation ce produit est rserve uniquement a un usage professionel.MISE EN GARDE: Pour Une Protection Permanente Contre Les Blessures Corporelles1.NÂ’installez pas ce produi t directement au-dessus du public ou des artistes. 2.Ne tentez pas de rpare r ce produit vous-mmes. 3.Le liquide Atmospheres ft spcialement conus pour lÂ’utilisation de cette machine. Ce liquide ft test par un laboratoire toxicologique indpendant et nÂ’est pas toxique aux articles tests. LÂ’utilisation dÂ’autres produits peut entrainer un changement de rgularit en vapor ation, tempratures et peut tre dommageable pour la sa nte. Ne pas diluer le liquide Atmospheres. La dilution de ce prod uit avec de lÂ’eau, parfum ou tout autre substance peut causer une vap oration rapide et peur endommager lÂ’appareil. LÂ’ajout de substance au liquide Atmosphe res peut tre dommageable pour la sante et pourrait causer un incendie.

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FQ-100 Fog Generator User Manual 13 WICHTIGE HINWEISE FR IHRE SICHERHEITWARNUNG: Fr kontinuierlichen Schutz gegen Brnde1.Verwenden Sie dieses Produkt ni cht in der Nhe von brennbaren Materialien. 2.Montieren Sie das Gert nicht auf brennbare Oberflchen. 3.Ersetzen Sie Sicherungen nur mit der angegebenen Ar t und Bewertung.WARNUNG: Fr kontinuierlichen Sc hutz gegen elektrischen Schlag1.Dieses Gert sollte nu r in trockener Umgebung verwendet werden. Setzen Sie das Gert nicht Regen oder Feuchtigkeit. 2.Vermeiden Sie die berlastung oder sauber zu diesem Produkt mit einer Anschlussleistung. 3.berlassen Sie die Wartung qualifiziertem Fachpersonal. 4.Mit diesem Produkt hat nur bis zu einem professionellen Einsatz.WARNUNG: Fr kontinuierlichen Schutz gegen Krperverletzung1.Installieren Sie dieses Produkt nicht direkt ber die ffentlichkeit, oder Knstler. 2.Versuchen Sie nicht, dieses Produkt selbst zu reparieren. 3.Die Flssigkeit Atmospheres wurd e speziell fr den Einsatz dieser Maschine konzipiert. Diese Flssigk eit wurde von einem unabhngigen Labor getestet Toxikologie und ist nicht toxisch auf die Artikel ge prft. Bei Verwendung anderer Produk te kann eine nderung der Ordnungsmigkeit der Verdampfung haben, und die Temper aturen knnen fr die Gesundheit schdlich. Nicht verdnnen der Fls sigkeit Atmospheres. Verdnnen Sie das Produkt mit Wasser, Parfm oder an dere Stoffe knn en zu schnelle Verdunstung und Angst fhren. Hinzufgen von Substanz, um die Flssigkeit Atmospheres kann gesundhe itsschdlich sein und einen Brand verursachen.

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FQ-100 Fog Generator User Manual 14 INFORMACI"N IMPORTANTE DE SEGURIDADADVERTENCIA: Para Proteccin Continua Contra Incendios1.No utilice este producto ce rca de materiales inflamables. 2.No instalar sobre un a superficie inflamable. 3.Reemplazar los fusibles slo con el tipo y clasificacin.ADVERTENCIA: Para La Proteccin Continua Contra Electrocuciones1.Este equipo slo debe utilizarse en condiciones secas. No exponer a la lluvia o la humedad. 2.No sobrecargue o limpiar este producto con una carga conectada. 3.Consulte al pers onal cualificado. 4.El uso de este producto est sujeto slo a un uso profesional.ADVERTENCIA: Para Proteccin Cont inua Contra Lesiones Corporales1.No instale esta unidad directamente encima de la audiencia o artistas. 2.No intente reparar este producto usted mismo. 3.El lquido Atmospheres fue diseado especialmente para el uso de esta mquina. Este lquido fue probado por un laboratorio de toxicologa independiente y no es txico para los elementos de prueba El uso de otros productos puede causar un cambio en la regularidad de vaporizacin, y las temperaturas pueden ser perjudiciales para la salud. No diluir el lquido Atmospheres. Diluir el producto con agua, perfume o cualquier otra sustancia que puede causar una rpida evaporacin y daos en el miedo. Adicin de contenido a la Atmospheres lquido puede ser perjudicial para la salud y podra causar un incendio.

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FQ-100 Fog Generator User Manual 15 IMPORTANTI INFORMAZIONI PER LA SICUREZZAAVVERTENZA: Per La Prevenire Di Incendi1.Non usare questo prodotto vicino a materiali infiammabili. 2.Non montare su superfici infiammabili. 3.Sostituire i fusibili solo con il tipo specificato e il rating.AVVERTENZE: Per La Preven zione Di Scosse Elettriche1.Questa apparecchiatura dovrebbe esse re utilizzata solo in condizioni di asciutto. Non esporre a pioggia o umidit. 2.Non sovraccaricare o pulire questo prodotto con un carico collegato. 3.Rivolgersi a personale qualificato. 4.L'utilizzo di questo prodotto soggetto solo ad un uso professionale.AVVERTENZE: Per La Prevenzione Cost ante Di Danni Fisi ci Alle Persone1.Non installare questa unit direttamente sopra il pubblico e gli artisti. 2.Nessuna parte dell'utente servicable all'interno. 3.Il liquido Atmospheres stato a ppositamente progettato per l'uso di questa macchina. Questo liquido stato testato da un laboratorio indipendente tossicologia e non tossico per gli elementi di prova. L'uso di altri prodotti possono provocare un cambiamento nella regolarit di vaporizzazione, e le temperature posson o essere dannosi per la salute. Non diluire il liquido Atmospheres. Diluen do il prodotto con acqua, profumi o qualsiasi altra sostanza pu causare la rapida evaporazione e danni paura. L'aggiunta di sostanze al liquido At mospheres possono essere dannosi per la salute e potrebbe causare un incendio.

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Creating better fog since 1980The finest haze on the market...ATMe... just got better.Nice work. e e ee evolution asy control nergyfficient xceptional results

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HAZEATMOSPHERE seriesTECHNICAL DATA Single high output Automatic Purging System™ (APS™) 100% Duty Cycle Maximum Gas pressure input: 4.14 Bar (60 PSI) Variable haze output 4 standard USITT DMX512 channels, XLR 5, 1 input, 1 output. Last operation mode memory RDM compliant device. Recordable failure / anomaly logs USB 2.0 Link connector (control) Firmware upgradableATMeFluid type (M.S.D.S. available on request)MDG Neutral Fluid Consumption (per hour at 1.38 bar/20 psi)55 ml (1.62 oz / 0.0145 US gallon) (per hour at 2.76 bar/40 psi)110 ml (3.24 oz / 0.0290 US gallon) Gas type Industrial grade CO2or N2only Consumption (per hour at 1.38 bar/20 psi)0,18 kg (0.4 lb) (per hour at 2.76 bar/40 psi)0,36 kg (0.79 lb) Control4 button LCD user interface, DMX XLR-5 connectors, RDM compliant device Total running time (per hour at 1.38 bar/20 psi)46 hours (per hour at 2.76 bar/40 psi)23 hours Reservoir capacity2,5 L (0.66 US gallon) Automatic Purging System (APS)Standard feature Haze colourPure white Partical size0,5 0,7 micron Warm up time (maximum)8 minutes Operating voltage100 250 VAC, 50/60 Hz single phase Power consumption715 W Noise emission (at 1 m/3.3 ft)45.4 dB (A) DimensionLength68,5 cm (27") Width18 cm (7") Height30 cm (12") Weight16.8 kg (37 lb) Shipping weight (without flight case)22 kg (48.5 lb) Shipping weight (with flight case)30.5 kg (67 lb) Approval C CSA and UL FLUIDACCESSORIESMDG Neutral Fluid Flight case Safe, non toxic fog fluid, withthe longest hanging time. easy transport Available in 4 L (1 US gallon), 5 L (Europe only), 20 L (5.3 US gallon), 205 L (55 US galon) and 1000 L (264 US gallon) sizes. Creating better fog since 1980MDG reserves the right, without notice, to modify and improve products as deemed necessary.Printed in Canada 140224 ATMe Durable for safe and 10301 av. Pelletier, Montral, Qubec, Canada H1H 3R2 T (514) 272-6040 1-800-663-3020 F (514) 722-3229 info@mdgfog.com www.mdgfog.com

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1.Conforms to ANSI Z400.5-2004 Standard (United States, Canada).Material Safety Data Sheet MDG Neutral Fluid NF-B4, NF-C20, NF-D205 Fog fluids for MDG fog generators: MAX APS Series (3000, 5000 and 5000 H.O.) ATMOSPHERE APS Series (ATM, ATM H.O.) and ADV Series (M3, M5 et ATM-1), Single/Dual Series, theOne, M4c, Theme Pack Series. Product name Supplier/Manufacturer Material uses Code In case of emergency Product and company identificationMSDS authored byMDG Neutral Fluid : : : : : : Product type: Liquid. KMK Regulatory Services inc. MDG Fog Generators Ltd 10301 avenue Pelletier Montral, QC Canada, H1H 3R2 Tel: 514-272-6040 Toll free: 1-800-663-3020 Fax: 514-722-3229 Email: info@mdgfog.com +1 (800) 663-3020 +1 (514) 272-6040 info@mdgfog.com Monday to Friday, 8:00 am to 5:00 pm Dermal contact. Eye contact. Inhalation. Ingestion.Hazards identificationRoutes of entry Potential acute health effects No known significant effects or critical hazards. No known significant effects or critical hazards. No known significant effects or critical hazards. No known significant effects or critical hazards. Eyes Skin Inhalation Ingestion Physical state Liquid. : : : : : : Odor: Odorless. OSHA/HCS status: While this material is not considered hazardous by the OSHA Hazard Communication Standard (29 CFR 1910.1200), this MSDS contains valuable information critical to the safe handling and proper use of the product. This MSDS should be retained and available for employees and other users of this product.2 .Potential chronic health effects Carcinogenicity: No known significant effects or critical hazards. Chronic effects: No known significant effects or critical hazards. Over-exposure signs/symptoms Inhalation: No specific data. Emergency overview Color: Colorless. Hazard statements : NOT EXPECTED TO PRODUCE SIGNIFICANT ADVERSE HEALTH EFFECTS WHEN THE RECOMMENDED INSTRUCTIONS FOR USE ARE FOLLOWED. Precautions : None identified. Mutagenicity: No known significant effects or critical hazards. Teratogenicity: No known significant effects or critical hazards. Developmental effects: No known significant effects or critical hazards. Fertility effects: No known significant effects or critical hazards. 1/6

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MDG Neutral Fluid Hazards identification 2 .See toxicological information (section 11) Medical conditions aggravated by overexposure None known. : Ingestion: No specific data. Skin: No specific data. Eyes: No specific data. Composition/information on ingredients 3.There are no additional ingredients present which, within the current knowledge of the supplier and in the concentrations applicable, are classified as hazardous to health or the environment and hence require reporting in this section. Not applicable. Not applicable. Not applicable. Not applicable.First aid measuresEye contact Skin contact Inhalation Ingestion None identified. Notes to physician : : : : :4 .Protection of first-aiders: No special measures required. Use an extinguishing agent suitable for the surrounding fire.Fire-fighting measuresExtinguishing media No specific fire or explosion hazard. Special protective equipment for fire-fighters Fire-fighters should wear appropriate protective equipment and self-contained breathing apparatus (SCBA) with a full face-piece operated in positive pressure mode. :5.None known. Suitable : Not suitable : Flammability of the product: Put on appropriate personal protective equipment (see section 8). Environmental precautionsAccidental release measures: No special requirements. Personal precautions :6.Dilute with water and mop up if water-soluble or absorb with an inert dry material and place in an appropriate waste disposal container. : Spill Store in accordance with local regulations. Please store at -25o to -15oC upon receipt. Put on appropriate personal protective equipment (see section 8).Handling and storageHandling Storage : :7 Exposure controls/personal protectionConsult local authorities for acceptable exposure limits. Canada 8.Engineering measures: No special ventilation requirements. Recommended monitoring procedures : No special requirements. Occupational exposure limits IngredientList nameppmmg/mOtherppmmg/mOtherppmmg/mOtherNotations No known value. TWA (8 hours)STEL (15 mins)Ceiling 2/6

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MDG Neutral Fluid Exposure controls/personal protection 8.Not required under normal conditions of use. Not required under normal conditions of use. Not required under normal conditions of use. Eyes Skin Respiratory : : : Not required under normal conditions of use. Hands: Hygiene measures: Follow good industrial hygiene practice. Environmental exposure controls : No special measures required. >271C (>519.8F) Liquid. 0.85 >1 [Air = 1] <0.013 kPa (<0.1 mm Hg) Odorless. Colorless. Boiling/condensation point <1 (butyl acetate = 1) Dynamic: 16 mPas (16 cP)Physical and chemical propertiesPhysical state Relative density Vapor pressure Vapor density Evaporation rate Viscosity Odor Color : : : : : : : : : Flash point: Open cup: >138C (>280.4F) [Cleveland.]9 .Miscible in water. Solubility : The product is stable. Under normal conditions of storage and use, hazardous decomposition products should not be produced. No specific data.Stability and reactivityChemical stability Conditions to avoid Materials to avoid Hazardous decomposition products : : : :10.Possibility of hazardous reactions : Under normal conditions of storage and use, hazardous reactions will not occur. Hazardous polymerization: Under normal conditions of storage and use, hazardous polymerization will not occur. None known. Toxicological information 11.Acute toxicity : No specific data. Chronic toxicity : No specific data. Ecological information 12.Other adverse effects: No known significant effects or critical hazards. Environmental effects: Not established The generation of waste should be avoided or minimized wherever possible. No specific disposal consideration. Waste disposalDisposal considerationsDisposal should be in accordance with applicable regional, national and local laws and regulations. :13.Refer to Section 7: HANDLING AND STORAGE and Section 8: EXPOSURE CONTROLS/PERSONAL PROTECTION for additional handling information and protection of employees. 3/6

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MDG Neutral Fluid Transport information 14 .DOT/TDG/IMDG/IATA: Not regulated. Not regulated. HCS ClassificationRegulatory informationU.S. Federal regulations Connecticut Carcinogen Reporting : None of the components are listed. Connecticut Hazardous Material Survey : None of the components are listed. Florida substances : None of the components are listed. Illinois Chemical Safety Act : None of the components are listed. Illinois Toxic Substances Disclosure to Employee Act : None of the components are listed. Louisiana Reporting : None of the components are listed. Louisiana Spill : None of the components are listed. Massachusetts Spill : None of the components are listed. Massachusetts Substances : None of the components are listed. Michigan Critical Material : None of the components are listed. Minnesota Hazardous Substances : None of the components are listed. New Jersey Hazardous Substances : None of the components are listed. New Jersey Spill : None of the components are listed. New Jersey Toxic Catastrophe Prevention Act : None of the components are listed. New York Acutely Hazardous Substances : None of the components are listed. New York Toxic Chemical Release Reporting : None of the components are listed. Pennsylvania RTK Hazardous Substances : None of the components are listed. Rhode Island Hazardous Substances : None of the components are listed. No products were found. United States inventory (TSCA 8b) : All components are listed or exempted. Clean Water Act (CWA) 307 : No products were found. Clean Water Act (CWA) 311 : No products were found. Clean Air Act (CAA) 112 accidental release prevention : No products were found. Clean Air Act (CAA) 112 regulated flammable substances : No products were found. Clean Air Act (CAA) 112 regulated toxic substances : No products were found. State regulations WHMIS (Canada) Not controlled under WHMIS (Canada). SARA 302/304/311/312 extremely hazardous substances : No products were found. SARA 302/304 emergency planning and notification : No products were found. SARA 302/304/311/312 hazardous chemicals : No products were found. SARA 311/312 MSDS distribution chemical inventory hazard identification : No products were found. : : : : Canada United States 15 .California Prop. 65 Clean Air Act Section 112(b) Hazardous Air Pollutants (HAPs) : Not listed Clean Air Act Section 602 Class I Substances : Not listed Clean Air Act Section 602 Class II Substances : Not listed DEA List I Chemicals (Precursor Chemicals) : Not listed DEA List II Chemicals (Essential Chemicals) : Not listed 4/6

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MDG Neutral Fluid Regulatory information 15 .CEPA Toxic substances : None of the components are listed. Canadian ARET : None of the components are listed. Canadian NPRI : None of the components are listed. Alberta Designated Substances : None of the components are listed. Ontario Designated Substances : None of the components are listed. Quebec Designated Substances : None of the components are listed. Australia inventory (AICS) : All components are listed or exempted. China inventory (IECSC) : All components are listed or exempted. Japan inventory : All components are listed or exempted. Korea inventory : All components are listed or exempted. New Zealand Inventory of Chemicals (NZIoC) : All components are listed or exempted. Philippines inventory (PICCS) : All components are listed or exempted. International regulations International lists: This product has been classified in accordance with the hazard criteria of the Controlled Products Regulations and the MSDS contains all the information required by the Controlled Products Regulations. Canadian lists: Canada inventory: All components are listed or exempted. Chemical Weapons Convention List Schedule I Chemicals : Not listed Chemical Weapons Convention List Schedule II Chemicals : Not listed Chemical Weapons Convention List Schedule III Chemicals : Not listed Other informationHazardous Material Information System (U.S.A.) 0 0 0 0 0 0 National Fire Protection Association (U.S.A.) Health Special Instability Flammability Health Flammability Physical hazards : :16 .Caution: HMIS ratings are based on a 0-4 rating scale, with 0 representing minimal hazards or risks, and 4 representing significant hazards or risks Although HMIS ratings are not required on MSDSs under 29 CFR 1910.1200, the preparer may choose to provide them. HMIS ratings are to be used with a fully implemented HMIS program. HMIS is a registered mark of the National Paint & Coatings Association (NPCA). HMIS materials may be purchased exclusively from J. J. Keller (800) 327-6868. The customer is responsible for determining the PPE code for this material. United States Label requirements: NOT EXPECTED TO PRODUCE SIGNIFICANT ADVERSE HEALTH EFFECTS WHEN THE RECOMMENDED INSTRUCTIONS FOR USE ARE FOLLOWED. Date of issue : 12/15/2009 5/6

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MDG Neutral Fluid Other information 16 .Notice to reader To the best of our knowledge, the information contained herein is accurate. However, neither the above-named supplier, nor any of its subsidiaries, assumes any liability whatsoever for the accuracy or completeness of the information contained herein. Final determination of suitability of any material is the sole responsibility of the user. All materials may present unknown hazards and should be used with caution. Although certain hazards are described herein, we cannot guarantee that these are the only hazards that exist. : : 4.2 11/15/2009 Date of previous issue Version 6/6

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Specifications-4-inch, 7.5-inch Color Changers Power/Data Receives 24v DC and DMX from Wybron PS Series Power Supply XLR Connector Pin Out XLR Pin #FunctionConductor Size 1Ground14 AWG 2Data +22 AWG 3Data -22 AWG 424 Volts DC14 AWG*Not Compatible with Ram II Power SuppliesControl Uses DMX512-A Protocol General Designed to be an entry level color changer Fits the most common wash and ellipssoidal fixtures 16 individual gel frames on 4” (Source Four) & 7.0” models Features Wbron’s Autoload system for easy gelstring loading Wide selection of fixture mounting plates Integrated stainless steel safety cable .063” aluminum sheet metal construction Accepts power and data on one cable 4 pin XLR connector for power and data 4 pin XLR connector output for daisy chaining units Made in the USA TEL 8006240146 TEL 7195489774FAX 7195480432EMAIL: info@wybron.comWEBSITE: www.wybron.com

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5.25"/133mm5.25"/133mm9.86"/248mm 2.99"/76mm 3.25"/83mm10.13"/257mm 2.65"/67mm2.59"/ 66mm 11.72"/298mm 7.0"/176mm 3.0"/76mm 3.34"/85mm7.0"/176mm 11.07"/281mm 2.66"/68mm2.59"/ 66mm 4-inch Model 4540TEL 8006240146 TEL 7195489774FAX 7195480432EMAIL: info@wybron.comWEBSITE: www.wybron.comWeight: 3.38 lbs./1.53kg without mounting plate Front Door: 10.0” accessory holder Weight: 3.0 lbs./1.361kg without mounting plate Front Door: 6.25” accessory holder Available in 3’, 5’, 10’, 15’, 25’, 50’, 75’, & 100’ lengths ** See COLOREXPRESS Gelstrings for available colors FORERUNNER Color Changers ModelDescription 4540 4-inch color changer 7140 7-inch color changer PS-SERIES Power Supply 820150150W power Supply 820300300W power Supply 820600600W power Supply FORERUNNER Accessories 7042-XX Power/Data Cable (XX=Length)* FORERUNNER Gelstrings** 4549–XX4-inch g elstring (XX=number of frames up to 16) 7149–XX7.0-inch gelstring (XX=number of frames up to 16) FORERUNNER Mounting Plate INCLUDED. To specify size, see website. Specifications-4-inch, 7-inch Dimensions & Weights7-inch Model 7140 Ordering Information Color Changers

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b )15(6)&+)''76)67!6=0)'6')7060#16 )6f0):71 )'70)%6'6+)<06)067!6)%%)<#' 6=0)'6+0):71 6nr)-245(b6b:&#'#01 666)%)06!' 01 6br)15(t66)%)06!' 01 6bf66r56bf66r6)<101 6rrnnr6)%)06!' 01 0)'766006b16#'#7#' 61# '%6'6+)<0 '7 07617#'%11617%617=6% 0:116)060$6&):'7%260617'#' -?48/6%:&#':&61!76&7%6)'170:7#)' 6+#'6br6)''7)06)06+)<06'67 6+#'6br6)''7)06)06):7+:76 t6#'67!6)]TJ ET 0 0 0 0 k /GS2 gs 315 103.5 242 597.295 re f BT 0 0 0 1 k /GS1 gs /T1_0 1 Tf 9.5 0 0 9.5 316 692.765 Tm [(" )15(+716%%617'06;)%7 16<)0%<#6 ,*??"*896)15(6?54?6>6'6*3?"9?6)15(6?54?6> '15+11169;66'6t5rt6 f)15(nttrnfbtfr br6f#'6(:'7#)')':7)06#> *0):'*6)107( 9 76"996)107( 8 76.996)107( 96)%716*6)107()15(rbftnrtft 116t*9")15(6f0)7))% ')7067:016;#%%6:1#' 6 )15(n6*-9?669??46r&)76;#6t' &'76 );066t*9617'06 )-11()-11( !)-11( )]TJ 0 -1.053 Td [(" )-11(t fn ;#6b% #0&<06+ 0 t fn)-11()-11( =+6)6;# )%7 6:7+:76'1)0 ;#60)+60'#' rf)-31(f)-31()-31(bf PS-SERIES 5;,7)-138(#:6620,8

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#trb)-11(5+,2)-11(nbtrbnf)-108("")-108()]TJ 5.873 0 0 5.873 139.7952 37.7084 Tm ("nf t=rf=f=)-85( t=rf=bfn"nrbf 04-5;<)754*53"ntn ;;;;<)754*53 ##"#)-28( 5;,7)-27(#:662< +,2 ,8*7069054 nbtrb trb&)-28( 5;,7)-28(#:662< nbbb bb&)-28( 5;,7)-28(#:662< nbbb bb&)-28( 5;,7)-28(#:662< ##"#)-28( 5;,7)-27(#:662<**,88570,8 bfn'' 5;,7(9()-28(()2,)-28('',4.9/ rf)-31(f)-31()-31(bf )-11()14(r #bb)-11(5+,2)-11(nbbb n)-12(tr PS-SERIES 5;,7)-138(#:6620,8 )-27()-91(ffr)-27()-27(b)-27(t)-28()-27(t)-28(t)-27(t)-27(nt)-28()-27()-28( 5;,7)-28(#:662< #trb #bb #bb +,2 nbt rb nb bb n bbb :96:9)-28( 5;,7 trb&bb&bb& r )-31()-31()-31()-31(! ,8*7069054 +,2,(+)-27( ')-27($)-27(r> nbbtrbbtnnf ')-27($)-27(f> frbtrbbtnnf ')-27($)-27(.)-27(3(9tbrbrb nr ')-27($)-27(tn> tnntbrbb nf ')-27($)-27(./9 ttbrb tn ')-27($)-27((704,7 nnbtrbbtnnf ')-27($)-27(:290 (7 nfbtbbb f t '"\034'9:4.89,4 trbbtn '")-27(' trbbtnnf ")-27($)-27(r>ttbtrbbtnnf "$)-27(f> frnbtrbbtnnf "$)-27(tb>tbtbbtbbb f t "$)-27(.)-28(39tbbtbbbtnnf "$)-27(tr>trbtbtbbbtnnf "$)-27(./9tbbtbbbrtbnb !%")-27($r>bbtbbbrtbnb !%")-5($.)-5(739rbbbtbbbtnnf #)-16($)-16(#%$$"tbbttrbbtn #)-16($#%$$")11(nttbtbtrbbtn #)-16($)-16(#%$$"tbbbtrbbtn #$)-28("#)-27(tnrbtrbbtnnf #$)-28("#)-27(ntnbnbtrbbtnnf #$)-28("#)-27(nf>nbnbrb tn ""%")-28(f> frfb4(tnf ""%")-28(> tfb4(tnf )-28( # !6)%%)<#' 6#166!076)6)&+7##%#7=6'6+#7=6) 7!6;0#):16&)%16)67!6f"0#16f)<06:++%=6'6 7!6)&+'#)'6;#17.85"/199.40mm 14.0"/355.60mm4.03"/102.40mm 4.42"/112.30mm )277(r b)-11(2)8r1.)]TJ ET 0 0 0 0 k /GS1 gs 50.414 310.741 243 176.4 re f q 50.414 310.741 243 176.4 re W n q 57.877 472.06 m 57.877 319.385 l 245.951 319.385 l 245.951 472.06 l W n 0.5 w 1 J /GS2 gs q 1 0 0 1 61.501 322.484 cm 0 0 m 0.451 -2.474 l S Q q 1 0 0 1 67.8018 320.01 cm 0 0 m 0.524 2.55 l S Q q 1 0 0 1 61.9522 320.01 cm 0 0 m 0.149 -0.225 l 0.45 -0.375 l S Q q 1 0 0 1 67.3526 319.635 cm 0 0 m 0.299 0.15 l 0.449 0.375 l S Q q 1 0 0 1 104.3272 322.484 cm 0 0 m 0.449 -2.474 l S Q q 1 0 0 1 110.627 320.01 cm 0 0 m 0.449 2.55 l S Q q 1 0 0 1 104.7765 320.01 cm 0 0 m 0.15 -0.225 l 0.45 -0.375 l S Q q 1 0 0 1 110.1769 319.635 cm 0 0 m 0.301 0.15 l 0.45 0.375 l S Q q 1 0 0 1 102.002 324.284 cm 0 0 m 0 0.525 l S Q q 1 0 0 1 64.876 319.635 cm 0 0 m -2.55 0 l S Q q 1 0 0 1 67.3526 319.635 cm 0 0 m -2.551 0 l S Q q 1 0 0 1 107.7013 319.635 cm 0 0 m -2.55 0 l S Q q 1 0 0 1 110.1769 319.635 cm 0 0 m -2.55 0 l S Q q 1 0 0 1 58.8018 343.635 cm 0 0 m -0.45 -0.151 l -0.6 -0.526 l S Q q 1 0 0 1 58.8018 343.185 cm 0 0 m 0 0.526 l S Q q 1 0 0 1 58.8018 343.185 cm 0 0 m -0.226 -0.076 l S Q q 1 0 0 1 58.6524 343.109 cm 0 0 m -0.525 0 l S Q q 1 0 0 1 113.8517 343.185 cm 0 0 m 0 0.526 l S Q q 1 0 0 1 114.377 343.109 cm 0 0 m -0.149 0.375 l -0.525 0.526 l S Q q 1 0 0 1 113.9269 343.109 cm 0 0 m 0.45 0 l S Q q 1 0 0 1 113.9269 343.109 cm 0 0 m -0.15 0.151 l S Q q 1 0 0 1 58.8018 343.635 cm 0 0 m 55.05 0 l S Q q 1 0 0 1 58.8018 343.185 cm 0 0 m 55.05 0 l S Q q 1 0 0 1 58.2022 323.46 cm 0 0 m 0.45 0 l 0.45 -0.9 l -0.075 -0.9 l S Q q 1 0 0 1 58.2022 322.56 cm 0 0 m 0 0.975 l S Q q 1 0 0 1 58.6524 343.109 cm 0 0 m 0 -19.649 l S Q q 1 0 0 1 58.2022 343.109 cm 0 0 m 0 -19.649 l S Q q 1 0 0 1 114.377 322.56 cm 0 0 m -0.525 0 l S Q q 1 0 0 1 113.9269 323.46 cm 0 0 m 0.45 0 l 0.45 -0.9 l S Q q 1 0 0 1 113.9269 322.56 cm 0 0 m 0 0.975 l S Q q 1 0 0 1 114.377 323.46 cm 0 0 m 0 19.725 l S Q q 1 0 0 1 113.9269 323.46 cm 0 0 m 0 19.725 l S Q q 1 0 0 1 80.9269 326.159 cm 0 0 m 0 -0.225 l S Q q 1 0 0 1 81.3019 325.934 cm 0 0 m 0 -0.224 l S Q q 1 0 0 1 80.9269 325.934 cm 0 0 m 0 -0.449 l S Q q 1 0 0 1 96.6769 340.86 cm 0 0 m 0.449 0 l S Q q 1 0 0 1 105.2267 340.86 cm 0 0 m 0.45 0 l S Q q 1 0 0 1 96.6017 341.234 cm 0 0 m 0.6 0 l S Q q 1 0 0 1 105.2267 341.234 cm 0 0 m 0.525 0 l S Q q 1 0 0 1 81.3019 333.284 cm 0 0 m 0 0.301 l S Q q 1 0 0 1 80.9269 325.934 cm 0 0 m 0 0.3 l S Q q 1 0 0 1 80.9269 333.135 cm 0 0 m 0 0.675 l S Q q 1 0 0 1 100.9522 341.609 cm 0 0 m -0.076 0.451 l -0.451 0.825 l -0.9 0.901 l S Q q 1 0 0 1 100.9522 341.609 cm 0 0 m 0 -0.074 l S Q q 1 0 0 1 100.0519 340.635 cm 0 0 m 0.449 0.075 l 0.824 0.45 l 0.9 0.9 l S Q q 1 0 0 1 100.0519 340.635 cm 0 0 m -1.051 0 l S Q q 1 0 0 1 98.1769 341.535 cm 0 0 m 0.075 -0.45 l 0.449 -0.825 l 0.9 -0.9 l S Q q 1 0 0 1 98.1769 341.535 cm 0 0 m 0 0.149 l S Q q 1 0 0 1 99.0772 342.51 cm 0 0 m -0.451 -0.076 l -0.825 -0.45 l -0.9 -0.901 l S Q q 1 0 0 1 99.0772 342.51 cm 0 0 m 0.975 0 l S Q q 1 0 0 1 98.4767 340.86 cm 0 0 m -0.825 -0.45 l -1.575 -1.126 l -2.025 -1.951 l -2.175 -2.926 l -2.1 -3.9 l -1.8 -4.801 l -1.2 -5.55 l -0.375 -6.075 l 0.524 -6.376 l 1.426 -6.45 l 2.399 -6.15 l 3.225 -5.701 l 3.825 -4.95 l 4.274 -4.125 l 4.425 -3.151 l 4.274 -2.176 l 3.825 -1.2 l 3.075 -0.525 l 2.175 0 l S Q q 1 0 0 1 102.3761 337.709 cm 0 0 m -0.149 -0.899 l -0.599 -1.725 l -1.273 -2.324 l -2.1 -2.699 l -3.074 -2.775 l -3.899 -2.55 l -4.725 -2.024 l -5.25 -1.35 l -5.549 -0.449 l -5.549 0.451 l -5.25 1.351 l -4.725 2.1 l -3.899 2.551 l -3.074 2.776 l -2.1 2.701 l 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-0.9 -0.901 l S Q q 1 0 0 1 102.3019 342.06 cm 0 0 m -1.5 0 l S Q q 1 0 0 1 98.252 342.06 cm 0 0 m -1.501 0 l S Q q 1 0 0 1 103.2022 341.159 cm 0 0 m -0.15 0.45 l -0.451 0.751 l -0.9 0.901 l S Q q 1 0 0 1 103.2022 334.26 cm 0 0 m 0 6.974 l S Q q 1 0 0 1 102.3019 333.36 cm 0 0 m 0.449 0.15 l 0.75 0.45 l 0.9 0.9 l S Q q 1 0 0 1 96.8272 333.36 cm 0 0 m 5.475 0 l S Q q 1 0 0 1 103.0519 334.336 cm 0 0 m -0.15 -0.451 l -0.525 -0.751 l -1.05 -0.751 l -1.425 -0.451 l -1.65 0 l -1.425 0.449 l -1.05 0.749 l -0.525 0.749 l -0.15 0.449 l 0 0 l S Q q 1 0 0 1 97.7267 341.085 cm 0 0 m -0.15 -0.45 l -0.601 -0.75 l -1.05 -0.75 l -1.5 -0.45 l -1.65 0 l -1.5 0.45 l -1.05 0.751 l -0.601 0.751 l -0.15 0.45 l 0 0 l S Q q 1 0 0 1 102.7511 334.336 cm 0 0 m -0.149 -0.377 l -0.524 -0.526 l -0.899 -0.377 l -0.974 0 l -0.899 0.374 l -0.524 0.524 l -0.149 0.374 l 0 0 l S Q q 1 0 0 1 97.4269 341.085 cm 0 0 m -0.15 -0.375 l -0.525 -0.525 l -0.9 -0.375 l -1.05 0 l -0.9 0.374 l -0.525 0.524 l -0.15 0.374 l 0 0 l S Q q 1 0 0 1 109.5763 341.609 cm 0 0 m -0.149 0.451 l -0.449 0.825 l -0.899 0.901 l S Q q 1 0 0 1 109.5763 341.609 cm 0 0 m 0 -0.074 l S Q q 1 0 0 1 108.6769 340.635 cm 0 0 m 0.45 0.075 l 0.75 0.45 l 0.899 0.9 l S Q q 1 0 0 1 108.6769 340.635 cm 0 0 m -1.125 0 l S Q q 1 0 0 1 106.7276 341.535 cm 0 0 m 0.149 -0.45 l 0.449 -0.825 l 0.899 -0.9 l S Q q 1 0 0 1 106.7276 341.535 cm 0 0 m 0 0.149 l S Q q 1 0 0 1 107.627 342.51 cm 0 0 m -0.45 -0.076 l -0.75 -0.45 l -0.899 -0.901 l S Q q 1 0 0 1 107.627 342.51 cm 0 0 m 1.05 0 l S Q q 1 0 0 1 110.4015 337.709 cm 0 0 m -0.15 -0.824 l -0.6 -1.498 l -1.275 -2.024 l -2.025 -2.249 l -2.85 -2.175 l -3.6 -1.799 l -4.125 -1.199 l -4.425 -0.374 l -4.425 0.451 l -4.125 1.2 l -3.6 1.801 l -2.85 2.176 l -2.025 2.252 l -1.275 2.025 l -0.6 1.501 l -0.15 0.826 l 0 0 l S Q q 1 0 0 1 109.5763 338.01 cm 0 0 m -0.149 -0.225 l -0.449 -0.225 l -0.524 0 l -0.449 0.224 l -0.149 0.224 l 0 0 l S Q q 1 0 0 1 109.127 336.735 cm 0 0 m -0.15 -0.225 l -0.45 -0.225 l -0.6 0 l 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q 1 0 0 1 136.4762 557.291 cm 0 0 m -0.45 -2.15 l 0.341 -2.15 l 0 0 l 0 0.112 l S Q q 1 0 0 1 113.1676 534.207 cm 0 0 m 25.912 0 l 26.026 0 l S Q q 1 0 0 1 115.8835 557.291 cm 0 0 m 23.196 0 l 23.311 0 l S Q q 1 0 0 1 136.4762 534.207 cm 0 0 m 0 5.771 l 0 5.884 l S Q q 1 0 0 1 136.4762 557.291 cm 0 0 m 0 -13.804 l 0 -13.916 l S Q q 1 0 0 1 88.4987 586.8242 cm 0 0 m 0 -0.453 l 0 -0.566 l S Q q 1 0 0 1 62.2477 581.3926 cm 0 0 m -0.564 0 l -0.681 0 l S Q q 1 0 0 1 61.6832 581.3926 cm 0 0 m 0 89.959 l 0 90.068 l S Q q 1 0 0 1 61.6832 671.3516 cm 0 0 m 0.564 0 l 0.678 0 l S Q q 1 0 0 1 114.7516 581.3926 cm 0 0 m 0 89.959 l 0 90.068 l S Q q 1 0 0 1 62.2477 581.3926 cm 0 0 m 52.504 0 l 52.618 0 l S Q q 1 0 0 1 89.5172 667.7286 cm 0 0 m -0.225 -0.678 l -0.791 -1.016 l -1.471 -0.904 l -1.923 -0.34 l -1.923 0.34 l -1.471 0.793 l -0.791 0.905 l -0.225 0.566 l 0 0 l 0.114 -0.113 l S Q q 1 0 0 1 89.5172 586.4854 cm 0 0 m -0.225 -0.565 l -0.791 -0.905 l -1.471 -0.794 l -1.923 -0.339 l -1.923 0.339 l 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586.4854 cm 0 0 m -0.228 -0.454 l -0.68 -0.454 l -0.907 0 l -0.68 0.452 l -0.228 0.452 l 0 0 l 0.111 -0.114 l S Q q 1 0 0 1 88.8376 586.4854 cm 0 0 m -0.111 -0.339 l -0.564 -0.339 l -0.678 0 l -0.564 0.339 l -0.111 0.339 l 0 0 l 0.116 -0.114 l S Q q 1 0 0 1 88.9538 667.7286 cm 0 0 m -0.228 -0.451 l -0.68 -0.451 l -0.907 0 l -0.68 0.34 l -0.228 0.34 l 0 0 l 0.111 -0.113 l S Q q 1 0 0 1 88.8376 667.7286 cm 0 0 m -0.111 -0.34 l -0.564 -0.34 l -0.678 0 l -0.564 0.34 l -0.111 0.34 l 0 0 l 0.116 -0.113 l S Q q 1 0 0 1 153.0592 564.795 cm 0 0 m 2.038 -0.337 l 2.038 0.339 l 0 0 l f* Q 4 M 0 J q 1 0 0 1 153.0592 564.795 cm 0 0 m 2.038 -0.337 l 2.038 0.339 l 0 0 l S Q q 1 0 0 1 243.018 564.795 cm 0 0 m -2.149 0.339 l -2.149 -0.337 l 0 0 l f* Q q 1 0 0 1 243.018 564.795 cm 0 0 m -2.149 0.339 l -2.149 -0.337 l 0 0 l S Q 10 M 1 J q 1 0 0 1 153.0592 564.795 cm 0 0 m 2.038 -0.337 l 2.038 0.339 l 0 0 l -0.11 0 l S Q q 1 0 0 1 243.018 564.795 cm 0 0 m -2.149 0.339 l -2.149 -0.337 l 0 0 l 0.115 0 l S Q q 1 0 0 1 153.0592 558.594 cm 0 0 m 0 8.919 l 0 9.031 l S Q q 1 0 0 1 243.018 558.594 cm 0 0 m 0 8.919 l 0 9.031 l S Q q 1 0 0 1 153.0592 564.795 cm 0 0 m 20.274 0 l S Q q 1 0 0 1 243.018 564.795 cm 0 0 m -17.429 0 l S Q q 1 0 0 1 228.697 536.924 cm 0 0 m 0.454 -2.376 l 0.454 -2.49 l S Q q 1 0 0 1 234.922 534.548 cm 0 0 m 0.564 2.376 l 0.564 2.487 l S Q q 1 0 0 1 229.151 534.548 cm 0 0 m 0.453 -0.341 l 0.566 -0.453 l S Q q 1 0 0 1 234.582 534.207 cm 0 0 m 0.34 0.341 l 0.453 0.453 l S Q q 1 0 0 1 161.2575 536.924 cm 0 0 m 0.453 -2.376 l 0.453 -2.49 l S Q q 1 0 0 1 167.483 534.548 cm 0 0 m 0.452 2.376 l 0.452 2.487 l S Q q 1 0 0 1 161.711 534.548 cm 0 0 m 0.453 -0.341 l 0.566 -0.453 l S Q q 1 0 0 1 167.143 534.207 cm 0 0 m 0.34 0.341 l 0.451 0.453 l S Q q 1 0 0 1 208.897 550.953 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 212.405 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 212.405 552.312 cm 0 0 m -3.508 0 l -3.623 0 l S Q q 1 0 0 1 208.897 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 203.919 550.953 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 207.426 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 207.426 552.312 cm 0 0 m -3.507 0 l -3.622 0 l S Q q 1 0 0 1 203.919 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 198.939 550.953 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 202.561 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 202.561 552.312 cm 0 0 m -3.622 0 l -3.737 0 l S Q q 1 0 0 1 198.939 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 194.073 550.953 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 197.58 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 197.58 552.312 cm 0 0 m -3.507 0 l -3.62 0 l S Q q 1 0 0 1 194.073 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 189.094 550.953 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 192.603 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 192.603 552.312 cm 0 0 m -3.509 0 l -3.622 0 l S Q q 1 0 0 1 189.094 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 184.116 550.953 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 187.737 550.953 cm 0 0 m 0 1.359 l 0 1.47 l S Q q 1 0 0 1 187.737 552.312 cm 0 0 m -3.621 0 l -3.734 0 l S Q q 1 0 0 1 184.116 552.312 cm 0 0 m 0 -1.359 l 0 -1.472 l S Q q 1 0 0 1 208.897 548.804 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 212.405 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 212.405 550.049 cm 0 0 m -3.508 0 l -3.623 0 l S Q q 1 0 0 1 208.897 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 203.919 548.804 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 207.426 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 207.426 550.049 cm 0 0 m -3.507 0 l -3.622 0 l S Q q 1 0 0 1 203.919 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 198.939 548.804 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 202.561 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 202.561 550.049 cm 0 0 m -3.622 0 l -3.737 0 l S Q q 1 0 0 1 198.939 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 194.073 548.804 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 197.58 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 197.58 550.049 cm 0 0 m -3.507 0 l -3.62 0 l S Q q 1 0 0 1 194.073 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 189.094 548.804 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 192.603 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 192.603 550.049 cm 0 0 m -3.509 0 l -3.622 0 l S Q q 1 0 0 1 189.094 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 184.116 548.804 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 187.737 548.804 cm 0 0 m 0 1.245 l 0 1.357 l S Q q 1 0 0 1 187.737 550.049 cm 0 0 m -3.621 0 l -3.734 0 l S Q q 1 0 0 1 184.116 550.049 cm 0 0 m 0 -1.245 l 0 -1.356 l S Q q 1 0 0 1 208.897 546.543 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 212.405 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 212.405 547.9 cm 0 0 m -3.508 0 l -3.623 0 l S Q q 1 0 0 1 208.897 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 203.919 546.543 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 207.426 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 207.426 547.9 cm 0 0 m -3.507 0 l -3.622 0 l S Q q 1 0 0 1 203.919 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 198.939 546.543 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 202.561 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 202.561 547.9 cm 0 0 m -3.622 0 l -3.737 0 l S Q q 1 0 0 1 198.939 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 194.073 546.543 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 197.58 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 197.58 547.9 cm 0 0 m -3.507 0 l -3.62 0 l S Q q 1 0 0 1 194.073 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 189.094 546.543 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 192.603 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 192.603 547.9 cm 0 0 m -3.509 0 l -3.622 0 l S Q q 1 0 0 1 189.094 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 184.116 546.543 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 187.737 546.543 cm 0 0 m 0 1.357 l 0 1.47 l S Q q 1 0 0 1 187.737 547.9 cm 0 0 m -3.621 0 l -3.734 0 l S Q q 1 0 0 1 184.116 547.9 cm 0 0 m 0 -1.357 l 0 -1.474 l S Q q 1 0 0 1 208.897 544.392 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 212.405 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 212.405 545.636 cm 0 0 m -3.508 0 l -3.623 0 l S Q q 1 0 0 1 208.897 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 203.919 544.392 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 207.426 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 207.426 545.636 cm 0 0 m -3.507 0 l -3.622 0 l S Q q 1 0 0 1 203.919 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 198.939 544.392 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 202.561 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 202.561 545.636 cm 0 0 m -3.622 0 l -3.737 0 l S Q q 1 0 0 1 198.939 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 194.073 544.392 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 197.58 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 197.58 545.636 cm 0 0 m -3.507 0 l -3.62 0 l S Q q 1 0 0 1 194.073 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 189.094 544.392 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 192.603 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 192.603 545.636 cm 0 0 m -3.509 0 l -3.622 0 l S Q q 1 0 0 1 189.094 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 184.116 544.392 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 187.737 544.392 cm 0 0 m 0 1.244 l 0 1.357 l S Q q 1 0 0 1 187.737 545.636 cm 0 0 m -3.621 0 l -3.734 0 l S Q q 1 0 0 1 184.116 545.636 cm 0 0 m 0 -1.244 l 0 -1.358 l S Q q 1 0 0 1 208.897 542.127 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 212.405 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 212.405 543.487 cm 0 0 m -3.508 0 l -3.623 0 l S Q q 1 0 0 1 208.897 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 203.919 542.127 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 207.426 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 207.426 543.487 cm 0 0 m -3.507 0 l -3.622 0 l S Q q 1 0 0 1 203.919 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 198.939 542.127 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 202.561 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 202.561 543.487 cm 0 0 m -3.622 0 l -3.737 0 l S Q q 1 0 0 1 198.939 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 194.073 542.127 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 197.58 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 197.58 543.487 cm 0 0 m -3.507 0 l -3.62 0 l S Q q 1 0 0 1 194.073 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 152.6588 537.943 cm 0 0 m 0.227 -0.565 l 0.903 -0.794 l 1.018 -0.908 l S Q q 1 0 0 1 152.6588 537.943 cm 0 0 m 0 18.781 l 0 18.896 l S Q q 1 0 0 1 242.613 556.724 cm 0 0 m -89.954 0 l -90.069 0 l S Q q 1 0 0 1 242.613 556.724 cm 0 0 m 0 -18.781 l 0 -18.896 l S Q q 1 0 0 1 241.711 537.149 cm 0 0 m 0.678 0.229 l 0.902 0.794 l 1.019 0.905 l S Q q 1 0 0 1 241.711 537.149 cm 0 0 m -88.149 0 l -88.262 0 l S Q q 1 0 0 1 239.901 544.844 cm 0 0 m -0.227 -0.68 l -0.794 -1.019 l -1.472 -0.905 l -1.924 -0.342 l -1.924 0.339 l -1.472 0.792 l -0.794 0.905 l -0.227 0.564 l 0 0 l 0.113 -0.113 l S Q q 1 0 0 1 199.279 539.297 cm 0 0 m -0.226 -0.676 l -0.794 -1.016 l -1.471 -0.903 l -1.811 -0.338 l -1.811 0.339 l -1.471 0.794 l -0.794 0.91 l -0.226 0.567 l 0 0 l 0.113 -0.11 l S Q q 1 0 0 1 158.7682 544.844 cm 0 0 m -0.227 -0.68 l -0.904 -1.019 l -1.471 -0.905 l -1.922 -0.342 l -1.922 0.339 l -1.471 0.792 l -0.904 0.905 l -0.227 0.564 l 0 0 l 0.113 -0.113 l S Q q 1 0 0 1 184.116 542.127 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 187.737 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 187.737 543.487 cm 0 0 m -3.621 0 l -3.734 0 l S Q q 1 0 0 1 184.116 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 189.094 542.127 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 192.603 542.127 cm 0 0 m 0 1.36 l 0 1.472 l S Q q 1 0 0 1 192.603 543.487 cm 0 0 m -3.509 0 l -3.622 0 l S Q q 1 0 0 1 189.094 543.487 cm 0 0 m 0 -1.36 l 0 -1.471 l S Q q 1 0 0 1 239.561 544.844 cm 0 0 m -0.226 -0.566 l -0.793 -0.68 l -1.132 -0.342 l -1.132 0.226 l -0.793 0.564 l -0.226 0.452 l 0 0 l 0.113 -0.113 l S Q q 1 0 0 1 242.613 557.291 cm 0 0 m 0 -0.567 l 0 -0.682 l S Q q 1 0 0 1 152.6588 556.724 cm 0 0 m 0 0.567 l 0 0.679 l S Q q 1 0 0 1 152.6588 557.291 cm 0 0 m 89.954 0 l 90.071 0 l S Q q 1 0 0 1 198.939 539.297 cm 0 0 m -0.228 -0.452 l -0.678 -0.563 l -1.131 -0.338 l -1.131 0.23 l -0.678 0.567 l -0.228 0.455 l 0 0 l 0.114 -0.11 l S Q q 1 0 0 1 158.3161 544.844 cm 0 0 m -0.228 -0.566 l -0.679 -0.68 l -1.131 -0.342 l -1.131 0.226 l -0.679 0.564 l -0.228 0.452 l 0 0 l 0.113 -0.113 l S Q q 1 0 0 1 234.582 534.207 cm 0 0 m -4.978 0 l -5.093 0 l S Q q 1 0 0 1 167.143 534.207 cm 0 0 m -4.979 0 l -5.094 0 l S Q q 1 0 0 1 184.116 549.935 cm 0 0 m 3.621 0 l 3.732 0 l S Q q 1 0 0 1 189.094 549.935 cm 0 0 m 3.509 0 l 3.619 0 l S Q q 1 0 0 1 194.073 549.935 cm 0 0 m 3.507 0 l 3.62 0 l S Q q 1 0 0 1 198.939 549.935 cm 0 0 m 3.622 0 l 3.732 0 l S Q q 1 0 0 1 203.919 549.935 cm 0 0 m 3.507 0 l 3.619 0 l S Q q 1 0 0 1 208.897 549.935 cm 0 0 m 3.508 0 l 3.62 0 l S Q q 1 0 0 1 238.996 544.392 cm 0 0 m 0 0.791 l 0 0.904 l S Q q 1 0 0 1 239.445 544.844 cm 0 0 m -0.223 -0.452 l -0.79 -0.452 l -1.016 0 l -0.79 0.339 l -0.223 0.339 l 0 0 l 0.116 -0.113 l S Q q 1 0 0 1 239.335 544.844 cm 0 0 m -0.228 -0.342 l -0.567 -0.342 l -0.793 0 l -0.567 0.226 l -0.228 0.226 l 0 0 l 0.11 -0.113 l S Q q 1 0 0 1 198.824 539.297 cm 0 0 m -0.224 -0.452 l -0.676 -0.452 l -1.016 0 l -0.676 0.455 l -0.224 0.455 l 0 0 l 0.115 -0.11 l S Q q 1 0 0 1 198.711 539.297 cm 0 0 m -0.226 -0.338 l -0.563 -0.338 l -0.791 0 l -0.563 0.339 l -0.226 0.339 l 0 0 l 0.113 -0.11 l S Q q 1 0 0 1 158.2028 544.844 cm 0 0 m -0.227 -0.452 l -0.681 -0.452 l -0.905 0 l -0.681 0.339 l -0.227 0.339 l 0 0 l 0.113 -0.113 l S Q q 1 0 0 1 158.0885 544.844 cm 0 0 m -0.112 -0.342 l -0.566 -0.342 l -0.679 0 l -0.566 0.226 l -0.112 0.226 l 0 0 l 0.114 -0.113 l S Q q 1 0 0 1 155.9391 536.924 cm 0 0 m 0.228 0.225 l 0.338 0.338 l S Q q 1 0 0 1 240.578 537.149 cm 0 0 m 0.116 -0.225 l 0.227 -0.342 l S Q q 1 0 0 1 155.9391 536.924 cm 0 0 m 84.755 0 l 84.866 0 l S Q q 1 0 0 1 240.694 537.149 cm 0 0 m 0 -0.225 l 0 -0.342 l S Q q 1 0 0 1 155.9391 537.149 cm 0 0 m 0 -0.225 l 0 -0.342 l S Q q 1 0 0 1 240.694 536.924 cm 0 0 m 0.339 0.225 l 0.449 0.338 l S Q q 1 0 0 1 155.6002 537.149 cm 0 0 m 0.339 -0.225 l 0.452 -0.342 l S Q q 1 0 0 1 229.151 534.548 cm 0 0 m 5.771 0 l 5.884 0 l S Q q 1 0 0 1 161.711 534.548 cm 0 0 m 5.772 0 l 5.883 0 l S Q BT /T1_9 1 Tf -0.175 Tc 6.875 0 0 6.875 65.902 573.7217 Tm [(7.60"/193.10mm 12.75"/323.90mm2.88"/73. 1 0mm 3.27"/83. 1 0mm nrb')-5(nrb')]TJ 1.918 -0.87 Td [(nfb' 39 nrb')-5(nbb')]TJ 1.918 -0.87 Td [(nrb'

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WIFI-CON User Manual Part Number: Important: Read all instructions prior to installation. DMX-4CH-5A Parts Included Overview 4400 Earth City Expy, St. Louis, MO 63045 866-590-3533 superbrightleds.com 4 Channel, 5A 1 DMX Decoder Input Signal DMX512 Input Voltage DC5V~DC24V Max Current Load 5A/CHx4CH 20A Max Max Output Power 100W/240W/480W(5V/12V/24V) Output Gray Scale 256 Levels/CH(8bit/CH) DMX512 Socket XLR-3, RJ45, Green Terminals Working Temperature -30C~65C Dimension 6.14in(156mm) x 3.07in(78mm) 1.57inx(40mm) Weight (G. W.) 15.17oz. (430g) Side A Side B 3.07in 78mm 1.57in 40mm ( ( ) ( ) ) ( ) To next DMX decoder or DMX terminator Side A Side B 3.07in 78mm 1.57in 40mm ( ( ) ( ) ) ()To next DMX decoder or DMX terminator 1-7 is to set 8 speed levels. Setup DIP 1 2 3 4 5 6 7 8 10 Address 001 002 004 008 016 032 064 128 256 DIP 1 DIP 4 DIP 5 DIP 6 DIP 9 Red Green Yellow Purple Cyan White Jump Gradual OFF ON OFF ON OFF ON OFF ON OFF ON DIP 1 DIP 4 DIP 5 DIP 6 Speed 1 Speed 2 Speed 3 Speed 4 Speed 5 Speed 6 Speed 7 DMX-4CH-5A Decoder converts the universal standard DMX512 signal into PWM signal to drive LED products. This compact scale output per channel. 0-100% brightness and various changing

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WIFI-CON User Manual Part Number: DMX-4CH-5A 4400 Earth City Expy, St. Louis, MO 63045 866-590-3533 superbrightleds.com 1. 2. operation, or connecting to excess voltage and overloading. The product appears to have excessive physical damage. Damage due to natural disasters and accidents. 3. Repair or replacement as provided under this warranty is the stipulation in this warranty. 4. 1. 2. enclosure. 3. Ensure good ventilation. 4. 5. the LED lights to carry the current. Also ensure that the cable is secured tightly in the connector to avoid the accidents due to overheat and poor contact on the wire. 6. applying power to avoid any damages to the LED lights. 7. DMX-4CH-5A Side A Side B 3.07in 78mm 1.57in 40mm (( ) ( ))() To next DMX decoder or DMX terminator DC5V-24V

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SHoW DMX SHoW Baby 5 Wireless DMX Transceiver Rev 3 20 11, 2013 City Theatrical, Inc. SHoW DMX Transceivers are covered by U.S. Patent # 7,432,803 and other patents pending

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2 Contents Radio Compliance Information ................................................................................................... 3 5792 SHoW DMX Radio CE Declaration of Conformity .......................................................... 6 System Compliance Information ................................................................................................ 7 Safety Notices ............................................................................................................................ 7 Introduction ................................................................................................................................ 8 SHoW DMX SHoW Baby 5 Neo Settings .............................................................................. 8 SHoW DMX SHoW Baby 5 Antennas ................................................................................... 9 DMX512 Setup and Operation ................................................................................................... 9 Transmitter Setup ................................................................................................................... 9 Receiver Setup ...................................................................................................................... 10 RDM Operation ......................................................................................................................... 10 Installing the Mounting Bracket ................................................................................................ 11

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3 Radio Compliance Infor mation 5 7 92 SHoW DMX Neo Radio Transceiver FCC ID: VU65 7 92 IC ID: 7480A5 7 92 FCC Part 15 This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interfe rence to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipmen t off and on, the user is encouraged to try to correct the interference by one or more of the following measures: tlet on a circuit different from that to which the receiver is connected. Radio Frequency Notifications FCC Notifications RF Radiation The Product is an intentional radiator of Radio Frequency (RF) energy. In order to limit RF exposure to personnel in the immediate area, the Product should be located and installed such that a and personnel in the vicinity of the device. Modification Warning Caution: changes or modifications to this equipment, not expressly approved by City Theatrical Inc. could Industry Canada Notifications This Class B digital apparatu s complies with Canadian ICES 003. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device. Cet appareil numrique de la classe B est conforme la norme NMB 003 du Canada. Product Installation and Configuration Guide City Theatrical Inc. 2007 5792 Approved Antenna To reduce potential radio interference to other users, the antenna type and its gain should be so chosen that the equivalent isotropically radiated power (e.i.r.p.) is not more than that permitted for successful communication. This device has been designed to operate with the antennas listed below. Antennas not included in this list or having a gain greater than 5 dB are strictly prohibited for use with this device. The required antenna impedance is 50 ohms.

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4 5792 FCC/IC Approved Antennas: Manufacturer Model Type Connector Gain Nearson S151AH 2450S Omni whip SMA plug reverse polarity 5dBi Nearson S141AH 2450 Omni whip SMA plug reverse polarity 2dBi Nearson S131AH 2450 Omni whip SMA plug reverse polarity 2dBi Nearson DG102N 2.4/5.25 Omni whip SMA plug reverse polarity via provided Antenna Cable 5dBi Centurion WCP2400 MMCX4 Omni whip 2.5dBi Maxrad MP24008XFPT Panel SMA plug reverse polarity via provided Antenna Cable 8dBi Maxrad MYP24010PT Yagi SMA plug reverse polarity via provided Antenna Cable 10dBi Maxrad MYP24014PT Yagi SMA plug reverse polarity via provided Antenna Cable 14dBi 5792 CE Approved Antennas: Manufacturer Model Type Connector Gain Nearson S151AH 2450S Omni whip SMA plug reverse polarity 5dBi Nearson S141AH 2450 Omni whip SMA plug reverse polarity 2dBi Nearson S131AH 2450 Omni whip SMA plug reverse polarity 2dBi Nearson DG102N 2.4/5.25 Omni whip SMA plug reverse polarity via provided Antenna Cable 5dBi Centurion WCP2400 MMCX4 Omni whip 2.5dBi CE Mark Conformity City Theatrical Inc. declares that this product conforms to the specifications listed in this manual, following the provisions of the European R&TTE directive 1999/5/EC: City Theatrical Inc. vakuuttaa tten ett dieses produkt tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja sit koskevien niden direktiivien muiden ehtojen mukainen. City Theatrical Inc. dclare que le produit est conforme aux conditions essentielles et aux dispositions relatives la directive 1999/5/EC. 1, 301 489 17 General EMC requirements for Radio equipment. CAUTION This equipment is intended to be used in all EU and EFTA countries. Outdoor use may be restricted to certain frequencies and /or may require a license for operation. Contact local Authority for procedure to follow. Note: ESD precautions should be used when attaching or removing the antenna. Note: Combinations of power levels and antennas resulting in a radiated power level of ab ove 100 mW equivalent isotropic radiated power (EIRP) are considered as not compliant with the above mentioned directive and are not allowed for use within the European community and countries that have adopted the European R&TTE directive 1999/5/EC. For m ore details on legal combinations of power levels and antennas, contact City Theatrical Inc. Do not use this product near water, for example, in a wet basement or near a swimming pool. Avoid using this product during an electrical storm. There may be a rem ote risk of electric shock from lightning.

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5 Product Installation and Configuration Guide City Theatrical Inc. 20 11 Q52 Regulatory information Radio Frequency Notifications Belgique Dans le cas d'une utilisation prive, l'extrieur d'un btiment, au dessus d'un espace public, aucun enregistrement n'est ncessaire pour une distance de moins de 300m. Pour une distance suprieure 300m un enregistrement auprs de l'IBPT est requise. Pour une utilisation publique l'extrieur de btiments, une licenc e de l'IBPT est requise. Pour les enregistrements et licences, veuillez contacter l'IBPT. France 2.4 GHz Bande : les canaux 10, 11, 12, 13 (2457, 2462, 2467, et 2472 MHz respectivement) sont compltement libres d'utilisation en France (en utilisation intr ieur). Pour ce qui est des autres canaux, ils peuvent tre soumis autorisation selon le dpartment. L'utilisation en extrieur est soumis autorisation pralable et trs restreint. Vous pouvez contacter l'Autorit de Rgulation des Tlcommunications (h ttp://www.art telecom.fr) pour de plus amples renseignements.

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6 5 7 92 SHoW DMX Radio CE Declaration of Conformity

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7 System Compliance Information The 5 702 SHoW DMX SHoW Baby 5 Transceiver is CE Certified Standards Applied: BS EN 60950 1:2002 incorporating Corrigendum No. 1 and Amendment No. 1 EN 55203 1: 1996 EN 55203 2: 1996 EN 301 489 1 V1.4.1 EN 301 489 3 V1.4.1 Products Conform to CE Marking Directive 93/68/EEC All SHoW DMX models are RoHS compliant Safety Notices Please read this entire manual before using your new equipment. Please keep the manual in a safe place so you can refer to it in the future as required. The SHoW DMX System is intended for use only by qualified professionals. Connection, installation and hanging of this equi pment must be performed in accordance with all pertinent local, regional and national safety codes and regulations. SHoW DMX equipment is intended for indoor use only unless specified for outdoor use. Keep the equipment dry! Do not operate the equipm ent if it gets wet! Do not operate in excessive heat/direct sunlight. Be sure installation provides adequate ventilation. There are no user serviceable parts inside! Refer to qualified service personnel! RF Exposure: The antenna(s) used for this transmitter must be installed to provide a separation distance of at least 20cm from all persons and must not be collocated or operating in conjunction with any other antenna or transmitter.

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8 Introduction Thank you for usi SHoW DMX SHoW Baby 5 Wireless DMX/RDM Transceiver. The SHoW DMX SHoW Baby 5 represents a breakthrough in plug and play wireless DMX and RDM transmission, and can be used either as a wireless DMX transmitter or receiver. All you ne ed now to set up a SHoW DMX wireless DMX system is two SHoW DMX SHoW Babys and two minutes! The SHoW DMX SHoW Baby 5 features include: SHoW DMX Neo 2.4GHz Frequency Hopping Spread Spectrum (FHSS) Radio Wirelessly broadcast and receive a full Universe (512 slots) of DMX Robust wireless DMX512 and RDM data transmission 5 Possible SHoW IDs including the original SHoW Baby 201 Extremely low 7mS max latency RDM proxy and responder functions Instant plug and play co nfiguration: For a Transmitter, connect DMX IN, for a Receiver, 72mW ETSI broadcast power (with 5dBi Antenna) Mount bracket for installation with C Clamps or similar hanging hardware Included CL2 Power Supply Included 2dBi Omni directional Antenna Neutrik 5P XLR Connectors for DMX IN and DMX OUT Every effort has been made to anticipate your questions in this manual, but if you have any questions that are not answered here, or you want to discuss a special application, please feel free to contact u s directly at City Theatrical. SHoW DMX SHoW Baby 5 Neo Settings The SHoW DMX SHoW Baby 5 uses the 5792 SHoW DMX Neo Radio Module. It is permanently configured with five SHoW ID options for Adaptive Spread Spectrum Frequency Hopping and Neo Low Latency broadcast mode. Using RDM, you can adjust SHoW ID, adjust the broadcast power, edit the RDM D evice Label, and enable or disable RDM traffic. No other settings are adjustable. The SHoW ID can also be changed by pressing the small button on the back of the SHoW DMX SHoW Baby 5 Color SHoW ID Description Green 201 Neo Adaptive Cyan 102 Neo Full Bandwidth Magenta 117 Neo Low Limited Bandwidth White 133 Neo Mid Limited Bandwidth Red 149 Neo High Limited Bandwidth

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9 SHoW DMX SHoW Baby 5 Antennas The SHoW DMX SHo W Bab y 5 is shipped with a 2dBi Omni directional antenna. Any of the approved antennas listed above may be used with the SHoW DMX SHoW Bab y 5 (please note the special installation requirements for use with the CTI # 5636 14 dBi Yagi Antenna). ETSI power settin gs for all 5792 SHoW DMX Neo Radio module equipped products, including the SHoW DMX SHoW Bab y 5 are based on use with the CTI 5630 5 dBi Omni Antenna. ETSI power and range will vary with the antenna used. Contact your dealer or City Theatrical for more information. DMX512 Setup and Operation Rear View Front View A SHoW DMX SHoW Bab y 5 system will normal ly consist of at least two SHoW Bab y 5 units. Transmitter Setup You can use one SHoW DMX SHoW Bab y 5 per system as a transmitter. 1. Install the SHoW DMX SHoW Bab y 5 you will use for a transmitter in a convenient location where you can reach it with the DMX cable from your console or controller. For best results, locate the unit higher in the air; 8 feet up is better than 5, and 20 feet up is better than 8. Consider where you will put your SHoW DMX SHoW Bab y 5 receivers and place the SHoW DMX SHoW Bab y 5 transmitter where its antenna will be within line of sight with the receivers (if possible). 2. Install the provided antenna and p oint it straight up in the air. 3. Connect the provided 12V DC Power Supply to the unit, and connect to mains power. 4. Connect the DMX cable from the console/controller to the DMX IN. The SHoW DMX SHoW Bab y 5 will be configured as a transmitter and the Tx LED will light. The DMX IN will be automatically terminated, and the DMX OUT will be available as a DMX pass thru. If you also connect a cable to the DMX OUT the termination is lifted. 5. As soon as you begin sending DMX from your console, the SHoW DMX SHoW Bab y 5 will begin broadcasting and the ID/ Data LED will light. 6. Choose the desired SHoW ID by cycling through the available colors with the SET ID button located on the back of the SHoW DMX SHoW Bab y 5

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10 Receiver Setup You will need at least one SHoW DMX SHoW Bab y 5 to use as a receiver. 1. Install the SHoW DMX SHoW Bab y 5 you will use for a receiver in a convenient location where you can reach it with a DMX cable to the device (or devices) it will be providing DMX for. As with the SHoW DMX SHoW Bab y 5 transmitter, locate the unit higher in the air for best results, and try to place your SHoW DMX SHoW Bab y 5 receiver where its antenna will be within line of sight with the transmitter. 2. Install the provided antenna and point it straight up in th e air. 3. Connect the provided 12V DC Power Supply to the unit, and connect to mains power. The SHoW DMX SHoW Bab y 5 will be configured as a receiver and the Rx LED will light 4. Connect a DMX cable from the SHoW DMX SHoW Bab y 5 DMX OUT to the first DMX device you want to provide DMX to. You can then continue to add up to 32 more DMX devices to the chain as with any DMX data stream, and like any other DMX system, be sure the last connected device is properly terminated. 5. As soon as you begin broadcasting from the SHoW DMX SHoW Bab y 5 set up as your transmitter, the data will be received by the SHoW DMX SHoW Bab y 5 (s) set up as The recei ved signal strength will be displayed on the four LO RF Signal HI LEDs. is three or more LEDs, and weaker signal is two or less. 6. Match the color of the ID/DATA LED to the transmitter. You can set up any number of additional SHoW DMX SHoW Bab y 5 units as receivers. RDM Operation RDM stands for Remote Device Management. RDM is a lighting control protocol enhancement to DMX512 specified by PLASA (formerly ESTA ); the official name is ANSI/ESTA E1.20, Entertainment Technology Remote Device Management over USITT DMX512 To learn more about RDM, a good place to start is the Wikipedia article on RDM (lighting) at: http://en.wikipedia.org/wiki/RDM_(lighting) SHoW DMX SHoW Bab y 5 is fully enabled as an RDM proxy system, so you can use RDM to manage your SHoW DMX SHoW Bab y 5 system and any connected RDM responders that are downstream of the system.

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11 In order to use RDM, you will also need an RDM controller or a lighting control console with a built in RDM controller. SHoW DMX SHoW Bab y 5 supports the following read only PIDs: PROXIED_DEVICE_COUNT PROXIED_DEVICES_ENHANCED SUPPORTED_PARAMETERS PAR AMETER_DESCRIPTION PRODUCT_DETAIL_ID_LIST DEVICE_MODEL_DESCRIPTION MANUFACTURER_LABEL FACTORY_DEFAULTS SOFTWARE_VERSION_LABEL SENSOR_DEFINITION SENSOR_VALUE, OUTPUT_POWER SHoW DMX SHoW Bab y 5 supports the following editable PIDS: SHoW ID(editable, 201, 102, 117, 133, 149) DEVICE_LABEL (editable) RDM_TRAFFIC_ENABLE (editable, 01 = enable, 00 = disable) OUTPUT_POWER ( editable, 00=1mW, 01=14mW, 02=28mW, 03=72mW) In order to allow RDM traffic and discovery and control of connected Responders you must enable RDM Traffic (Set RDM_TRAFFIC_ENABLE to 01). Note that DMX transmission fidelity may be slightly reduced when RDM Traffic is enabled. Installing the Mounting Bracket The SHoW DMX SHoW Bab y 5 cal mounting hardware like a C Clamp. Mount the Bracket on the SHoW DMX SHoW Bab y 5 using the 3 provided 8 16 x .250 Flat Head Torx drive screws. These are special screws for use with plastic, and need a T15 Torx driver. Do not over tighten the screws!

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12

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603.489.9843 mike @ mikebillingsdesign.com The AffordaSPOT 1000 An Affordable Remote Controller for Moving Lights to be Operated as Followspots from R emote L ocations PROJECT SCOPE OVERVIEW Many theater companies around the world have difficulty providing adequate positioning for followspots in their venues. Most of t easy access for technici ans to operate the spots. Advancements in the field have been made which have allowed moving lights (whi ch are much smaller than a typical followspot) to be used as a followspot (disengaging the pan and tilt controls) allowing th e operator to take control of the moving light attributes typical to a followspot that a lighting console would normally contro l. This can include intensity, zoom, iris, color, frost, gobo, etc. f a moving light fixture. This was mostly developed for tours th at typically put followspot operators on chairs high up in trusses, which saves the tour on rigging time and increases safety of the crew. This could also be used in situations where there physically is no place to put a followspot/operator, but because t hese units provide many features in the most extensive way possible, it can be incredibly cost prohibitive for companies that are really interested in having a pan/tilt, iris, and intensity control of their moving lights. Also, because the existing techno logy is only for one very large moving light, it may not be suitable for small theaters. PHYSICAL COMPONENTS The AffordaSPOT will be a controller with the same physical characters and ergonomic layout of a traditional followspot (a lo ng cylinder on a tripod type base that pa ns and tilts) with physical knobs to adjust friction in movement. The X/Y axis of the controllers will have encoders attached to them that connect to a computer interface, as well as (2) user definable potentiometer faders that would often link to intensity and iris control. These encoders/potentiometers will have an analog connection that links them to an Arduino Uno device, and a PC. The PC will take the inputs from the controller and interpolate them into DMX values for output. The PC will also be set up with a DMX output which will allow for DMX values to be input into a lighting network, at a higher priority than the console, allowing it to take precedence over the pan, tilt, iris, intensity controls of any moving light fixture. Each moving light is to be fitted with a tiny HD camera that hopefully makes use of the accessory mounting options that many moving lights provide, which will link back to a small HD video screen mounted to the end of the controller unit. T h is allows the operator to see what they are following from the moving lights perspective, instead of theirs. The current plan for encoders involves extracting motor/encoder assemblies from VL5 fixtures. T h e advantage to using the se, compared to some brand new encoders, is that they are already mounted in an asse mbly with mounting ho les, and that they geared to provide a reasonable amount of encoder resolution for moving lights. T he actual structure of the controller still needs to be prototyped, but it will include all of the above mentioned feat ures, and may include some of the bearings, mounting hardware, and wiring from VL5 fixtures, because they already perform many of the features this controller neeeds MOVING HEADS Car e should be taken when selecting the moving head fixtures, because many fixtures, such as the AutoYoke, ETC Revolution, or Apollo Right Arm, will not provide the motor speed needed to keep up as a followspot. T h e pan and tilt features of the f ixture should have a quick response that can support sudden movement of actors onstage. All moving heads must be connected to the lighting network, such as ETC N e t 3, which will allow m ultiple devices to have control over the fixtures with multiple priorities. One tricky consideration will be how to mount the camera an d provide power and data to it. The camera should be small enough that it will not affect the balance of the moving head, and its ability to home properly. T h e camera also must firmly mount to the fixture to provide accurate viewpoint with the center of the beam in the center of the screen. V ideo, especially if it is analog or

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603.489.9843 mike @ mikebillingsdesign.com low res can likely be transmitted to the operator wirelessly, but power will be tricky, especially if the moving head is a rental. One possibility would be to tap into the power of the fan on a moving head to power the camera. PC HARDWARE The PC and Arduino UNO device will be mounted into enclosures and will be placed in close proximity to the controllers. Connects between the Arduino and the Control ler must be terminated in some type of locking connector to allow for any swaps in case of malfunction. B e cause this is new, custom technology, having a spare controller unit next to the primary controllers, patched in, with the ability to be ac tivated in the PC, should be considered. PC SOFTW ARE A GUI should be established for this computer which the spot op will activate when they are ready to activate th e system, and can click through with a mouse or touch screen. On ce the system is started up, and the moving lights are in their home positions, the operator can home their followspots by clicking a home button on the screen, which essentially sets a 0,0 for the operator in a comfortable position. Because these are only controls are only human interfaces, much like a jo ystick, there is no need for the 0,0 to perfectly match the operator s light o verhead. DATA FLOW: Input from encoders and potentiometers via Arduino inputs User input for calibrating zero zero, which software will add/subtract accordingly Interpolate encod er +/ clicks into aggregate of current level to output at 44hz. User inpu t for change of scale if scale of operator move is not matching moving light move Interpolate /scale output value into single 16 bit DMX value (0 65,536) with swap/ invert features o Swap/invert being particularly important for tilt, because the mover will likely be mounted in the opposite orientation from the controller. Interpolate output value from single 16 bit into 2 add resses of 8 bit (0 255) values common for the pan/tilt addresses of almost every moving light manufactured. PC SOFTW ARE Arduino components to also include a DMX output shield to allow software to output DMX protocol to a cable an d input to the lighting network via a DMX input node. In the lighting network configuration, those specific DMX addresses will be given priority over the console values, allowing it to always take precedence. An alternative to this could be to allow the PC to connect directly to the lighting network via ACN or ArtNet, which would negate the need for the Arduin o DMX shield and the DMX input node.

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101 109 108 107 105 104 103 102 106 201 202 203 302 301 303 305 314 312 311 309 313 310 308 307 306 304 FIG. 1 FIG. 2 FIG. 3

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Constant Modules ETC 1 of 2 CCC20 Special Purpose Series GENERAL INFORMATION The Constant Module is a dual, plug-in assembly for use in both Sensor + and Unison Dimming Series modular dimmer rack enclosures. The Constant module distributes power with overcurrent protection from the dimmer rack enclosure to non-dimmed loads, typically motors, backup and emergency systems or auxiliary power distribution panels. APPLICATIONS Devices requiring constant current power Motors Backup and Emergency systems Auxiliary power distribution panels FEATURES Two circuits per module Does not respond to control signals High-density modular assembly Die-cast aluminum chassis Fully magnetic circuit breakers GENERAL 100,000A Short Circuit Current Rating (SCCR) UL and cUL LISTED ORDERING INFORMATION 100-120 Volt Constant Current Modules MODEL DESCRIPTION CC15 Dual 15A Constant Module CC20 Dual 20A Constant Module Compatible Systems MODEL DESCRIPTION INSTALLATION RACKS SR3 Sensor3 Installation racks SR+ Sensor+ Installation racks SR Sensor Installation racks TOURING RACKS SP3 Sensor+ 24 module Touring Rack (48-20A dimmers) SP+ Sensor+ 48 module Touring Rack (96-20A dimmers) PORTABLE PACKS SP3 Sensor3 Portable Packs SP+ Sensor+ Portable Packs

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Constant Current Modules ETC 2 of 2 Special Purpose Series Corporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web Module Dimensions MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm CC15 1.5 38 11.8 300 4.9 CC20 1.5 38 11.8 300 4.9 Module Weights MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs CC15 2.1 1.1 4.0 1.8 CC20 2.2 1.1 4.0 1.8 Maximum BTU Production per module MODEL BTUS WATTS EFFICIENCY <10 <4 >99.0% dimmer quantities, types and dimmer room dimensions, to calculate dimmer room air handling requirements. temperature at the dimmer rack Dimming systems operating within 10F of the upper or lower temperature limits must strictly follow installation and operation guidelines to operate reliably. SPECIFICATIONS GENERAL UL and cUL Listed for continuous duty at 100% of rated load Does not respond to control signals PHYSICAL Modular plug-in assemblies rack positions CIRCUIT BREAKERS Fully magnetic to eliminate nuisance tripping 20x inrush current rating 125%, 10-120 seconds, must-trip rating Rated for 100% switching duty applications RATINGS 100,000A Short Circuit Current Rating (SCCR) Replaceable fuse for short circuit protection and fault current coordination UL and cUL LISTED EFFICIENCY

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Standard Dimmer Module ETC 1 of 2 Signal Signal D20 Standard Series GENERAL INFORMATIONThe Standard Dimmer Module is designed for use in both Sensor+ and Unison Dimming Series modular rack enclosures. Standard Dimmer Modules provide cost-effective digital forward phase angle dimming for standard loads such as incandescent, low voltage, quartz, neon, cold-cathode and 2 and 4-wire uorescent ballasts. The patented, high-density, dual modules feature modular installation and removal, fully magnetic circuit breakers and standard or enhanced risetime toroidal lters. APPLICATIONS Incandescent lighting Low voltage lighting Quartz lighting Neon lighting Cold Cathode lighting 2-wire Fluorescent ballast 4-wire Fluorescent ballast FEATURES T wo 1.8 or 2.4kW dimmers per module Standard or Enhanced risetime toroidal lters High-density modular assembly Die-cast aluminum chassis Fully magnetic circuit breakers GENERAL 100,000A Short Circuit Current Rating (SCCR) UL and cUL LISTED ORDERING INFORMATION 100-120V Standard Dimmer Modules MODEL DESCRIPTION D15 Dual 15A Dimmer Module, 350S D15E Dual 15A Dimmer Module, 500S D20 Dual 20A Dimmer Module, 350S D20E Dual 20A Dimmer Module, 500S AFM Air Flow ModuleCompatible Systems MODEL DESCRIPTION INSTALLATION RACKS* SR3 Sensor3 Installation racks SR+ Sensor+ Installation racks SR Sensor Installation racks TOURING RACKS SP3 Sensor+ 24 module T ouring Rack (48-20A dimmers) SP+ Sensor+ 48 module T ouring Rack (96-20A dimmers) PORTABLE P ACKS SP3 Sensor3 Portable Packs SP+ Sensor+ Portable Packs*Rack enclosures also available for 230CE and 240 Volt applications

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Standard Dimmer Module ETC2 of 2Standard SeriesCorporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web Module Dimensions MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm D15 1.5 38. 11.8 300 4.9 D15E 1.5 38 11.8 300 4.9 D20 1.5 38 11.8 300 4.9 D20E 1.5 38 11.8 300 4.9 Module Weights MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs 5.0 2.3 6.9 3.1 5.5 2.5 6.9 3.1Maximum BTU Production per module MODEL BTUS W ATTS EFFICIENCY D15 380 112 96.9% D15E 140 96.1% D20 522 154 96.8% D20E 810 238 95.0%These values should be provided to a qualied HV AC design engineer, along with dimmer quantities, types and dimmer room dimensions, to calculate dimmer room air handling requirements. Dimmer room HV AC systems must at all times maintain the specied ambient temperature at the dimmer rack. Dimming systems operating within 10F of the upper or lower temperature limits must strictly follow installation and operation guidelines to operate reliably.SCR Rating MODULE D15/D20 Single cycle peak surge current 625A Half cycle peak surge current 1620A T ransient over voltage 600V SPECIFICATIONSGENERAL UL and cUL Listed for continuous duty at 100% of rated load PHYSICAL Modular plug-in assemblies rack positions CIRCUIT BREAKERS Fully magnetic to eliminate nuisance tripping 125%, 10-120 seconds, must-trip rating Rated for 100% switching duty applications RATINGS 100,000A Short Circuit Current Rating Rating (SCCR) Modules withstand hot-patching of cold loads up to full rating UL and cUL LISTED POWER DEVICE Sealed, patented assembly Field replaceable with screwdriver T wo back-to-back SCRs per circuit One control LED per circuit Integral bonded heatsink Integral temperature sensor FILTERING High quality toroidal lters 350S risetime Standard 100-120V modules* 500S risetime Enhanced 100-120V modules* Risetime measured at full load, at worst case ring angle (90 degrees), from 10-90% of output wave formDIMMER RANGE Incandescent, low voltage dimming range 100-0% Dimming range of 2 and 4-wire uorescent ballast is dependent on lamp ballast combination. Contact ETC for range verication Sizing of Neon transformer used in dimming applications application

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Sensor + Racks ETC 1 of 4 Sensor+ Series GENERAL INFORMATION Sensor+ dimming systems provide high density, professional features and exceptional reliability for lighting applications that require the best the entertainment industry can offer. APPLICATIONS Professional and educational theatre Production studios Concert and performance halls Themed retail and dining Multi-use Convention Centers Houses of Worship FEATURES High dimmer density Up to two 2.4kW dimmers per module 6, 12, 24, and 48 module racks available Rugged industrial construction Installation exibility Adaptable modular design 100,000A Short Circuit Current Rating (SCCR) Advanced conguration editing built into rack Stores up to 128 presets in memory Direct Ethernet control signal input Two DMX512-A inputs Standard system and rack monitoring with diagnostic reporting Supports ETC Dimmer Doubling ACCESSORIES SmartLink Button Stations and SmartLink TimeClock Dimmer Doubler Sound Suppression Hood Floor pedestal for 24-module rack Document holder ORDERING INFORMATION Installation Racks MODEL DESCRIPTION SR48+ Sensor+ 48 Module Rack SR24+ Sensor+ 24 Module Rack SR12+ Sensor+ 12 Module Rack SR6+ Sensor+ 6 Module Rack SR24+1P Sensor+ 24 Module Single Phase Rack SR12+1P Sensor+ 12 Module Single Phase Rack SR6+1P Sensor+ 6 Module Single Phase Rack Rack Options MODEL DESCRIPTION AT48 Amp-Trap fuse option for 48-module rack AT24 Amp-Trap fuse option for 24-module rack AT12 Amp-Trap fuse option for 12-module rack BK48 Bus kit for 2 48-module racks BK24 Bus kit for 2 24-module racks BK12 Bus kit for 2 12-module racks AUX30-48 30 Auxiliary Rack(s) for 48-module rack AUX19-48 19 Auxiliary Rack(s) for 48-module rack AUX19-24 19 Auxiliary Rack(s) for 24-module rack AUX19-12 19 Auxiliary Rack(s) for 12-module rack Vibration Reduction mounts available for all Sensor+ racks. Contact ETC for details. Note: Power feeds above 800A up to 2000A require addition of a 30 auxiliary rack. Rack Accessories MODEL DESCRIPTION SSSh24-48 Sensor+ Sound Suppression Hood large SSSh6-12 Sensor+ Sound Suppression Hood small Pedestal Floor pedestal for 24-module rack DH Document Holder SmartLink Accessories MODEL DESCRIPTION S-LPB SmartLink Power Board for Sensor+ Racks S-10005 SmartLink 5-Button Station S-10010 SmartLink 10-Button Station * One SmartLink Power Board required for station support. S-LPB supports up to four stations. Only one S-LPB may be enabled in a system.

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Sensor + Racks ETC 2 of 4 Sensor+ Series SPECIFICATIONS GENERAL Racks available in four sizes: SR6+ 6 modules, 12 dimmers maximum SR12+ 12 modules, 24 dimmers maximum SR24+ 24 modules, 48 dimmers maximum SR48+ 48 modules, 96 dimmers maximum Dual density (two dimmers per module), single density and half density dimmer modules available Operating temperature: 0-40C / 32-104F Dimmer room HVAC systems must at all times maintain the specied ambient temperature at the dimmer rack. Dimming systems operating within 10F of the upper or lower temperature limits must strictly follow installation and operation guidelines to operate reliably. Relative humidity: 10-90% non-condensing All racks UL and cUL Listed UL924 Listed for Bypass operation MECHANICAL Rugged 16-gauge steel construction Fine-textured, scratch-resistant, epoxy paint SR6+ and SR12+ uses wall mount installation SR24+ can be wall or pedestal mounted SR48+ is oor mounted Top and bottom conduit access through removable panels (SR48+) or knockouts (SR6+, SR12+, and SR24+) No tools required for module removal or installation Keyed module slots prevent insertion of inappropriate module types Front access to all wiring and terminations Full height locking door Electrostatic air lter easily removed from door for periodic cleaning High efciency cooling system with airow sensor High visibility LED status beacon ELECTRICAL SR6+, SR12+ and SR24+ accept: Three phase 120/208 VAC Single phase 120/240 VAC SR48+ accepts: Three phase 120/208 VAC Line feed frequencies from 47-63Hz Line feed voltage range is 91-139 VAC* Load terminals accept up to #4 AWG (25mm 2 ) wire Short Circuit Current Rating: 100,000A RMS symmetrical at 240VAC Auxiliary equipment racks and custom switchgear/distribution available (call ETC for details) *Note: Suggested max main transformer tap 135V to allow for line uxuation CONTROL ELECTRONICS Sensor+ Control Electronics Module (CEM+) Single Ethernet control signal input Two DMX512-A inputs Standard diagnostic reporting via browser-based interface or DimStat software Supports Dimmer Doubling Supports SmartLink control of presets OPTIONS Advanced Features (AF) dimmer-specic load and diagnostic reporting Amp-Trap fuses to allow feeding individual racks from oversize mains Bus kits available Vibration reduction kits available for all racks SmartLink Power Board SmartLink TimeClock ADDITIONAL INFORMATION Compatible Dimmer Modules SENSOR STANDARD MODULES MODEL DESCRIPTION D15/D20 Dual 15A/20A Dimmer Module 350S D15E/D20E Dual 15A/20A Dimmer Module 500S D50AF Single 50A Dimmer Module 500S AF D100AF Half 100A Dimmer Module 500S AF SENSOR SPECIAL PURPOSE MODULES ELV10 Dual 10A Dimmer Module for electronic low voltage transformers D15FB/D20FB Single 15A/20A Dimmer Module for two wire uorescent with emergency battery backup D15F/D20F Single 15A/20A Fluorescent Dimmer Module R15AF/R20AF Dual 15A/20A Relay Module CC15/CC20 Dual 15A/20A Constant Circuit Breaker Module AFM Air Flow Module *Half-density modules use two module slots. Control Modules MODEL DESCRIPTION CEM+ Control Electronics Module + Load Wiring Lug Capacity CONNECTION WIRE SIZE 10A, 15A, 20A, and 50A lugs 4 AWG Max. (25mm 2 ) 100A lugs 2/0 Max. Primary Feed Lug Capacity CONNECTION WIRE SIZE FEED RATING SR48+ Dual 600 kcmil 2 AWG 800A* SR24+ Dual 350 kcmil 4 AWG 400A SR12+ Dual 250 kcmil 6 AWG 200A SR6+ Single 2/0 14 AWG 100A Sound Pressure Level (dBA) MODEL dBA @ 1000Hz (1kHz) ** WITHOUT WITH SSSh *** SR48+ 37.0 30.9 SR24+ 40.2 34.0 SR12+ 41.8 33.8 SR6+ 26.0 21.4 *With addition of an AX48-30 rack and amp traps, feeder sizes can increase up to 2000A max. See Sensor Aux Bay Data sheet for more details. *dBA values for each Sensor rack measured at one meter. Visit www.etcconnect.com for full spectrum dBA ratings. ***Sensor Sound Supression hood (SSSh).

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Sensor + Racks ETC 3 of 4 Sensor+ Series Sensor+ Dimming System Congo jr Console DMX Plug-in DMX DMX DMX Plug-in Booth Stage SmartLink Pr eset 10 Pr eset 6 Pr eset 7 Pr eset 9 Pr eset 8 Pr eset 5 Pr eset 1 Pr eset 2 Pr eset 4 Pr eset 3 Pr eset 5 Pr eset 1 Pr eset 2 Pr eset 4 Pr eset 3 Pr eset 10 Pr eset 6 Pr eset 7 Pr eset 9 Pr eset 8 Pr eset 5 Pr eset 1 Pr eset 2 Pr eset 4 Pr eset 3 Pr eset 5 Pr eset 1 Pr eset 2 Pr eset 4 Pr eset 3 TYPICAL SYSTEM RISER TYPICAL NETWORK RISER Eos Console Radio Focus Remote (Receiver) Radio Focus Remote (T ransmitter) Eos Remote V ideo Interface To moving lights or any DMX device Sensor+ Dimming System Net3 DMX Gateway DMX CMEi in ER4 Rack Unison Control Stations Link Power Link Power Aux Power Switch Net3 DMX Gateway DMX from external source PC for ETC software

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Sensor + Racks ETC 4 of 4 Sensor+ Series PHYSICAL Empty Dimmer Rack Weights Installation Rack Dimensions MODEL WEIGHT SHIPPING WEIGHT MODEL HEIGHT WIDTH DEPTH lbs kgs lbs kgs inches mm inches mm inches mm SR48+ 188 86 198 90 SR48+ 83.1 2110 14.6 370 22.8 580 SR48+ Door 31 14 35 16 SR24+ 45.8 1160 14.6 370 16.8 430 SR24+ 107 49 115 53 SR12+ 25.8 660 14.6 370 13.3 340 SR24+ Door 17 8 20 9 SR6+ 16.4 420 14.6 370 13.3 340 SR12+ 45 21 50 23 SR12+ Door 11 5 14 6.5 SR6+ with Door 36 16 45 21 Rack doors ship separately. Full Dimmer Rack Weights MODEL MAX. WEIGHT TYPICAL WEIGHT lbs kgs lbs kgs SR48+ 493 224 459 209 SR24+ 261 119 244 111 SR12+ 115 53 105 48 SR6+ 71 33 66 30 Maximum D100AF modules (11.7lbs/slot) Typical D20 modules (5lbs/slot) Refer to module datasheets to calculate rack weight for other module types. Corporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web Sensor products protected by one or more of the following U.S. Patent Numbers 5,323,088, 5,352,088, 7,233,112, 7,019,469, 6,849,943, and 6,002,563; European Number 0603333T2; German 69203609. W all or other barrier (all racks) 17 460mm 17 460mm 17 460mm 17 460mm 14.6 370mm 14.6 370mm 14.6 370mm 14.6 370mm 13.3 340mm 13.3 340mm 16.8 430mm 16.4 420mm 25.8 660mm 45.8 1160mm 83.1 2110mm 22.8 580mm All racks require minimum clearance above fan 10.0 250mm SR24+ SR12+ SR6+ SR48+ 6 150mm 6 150mm 6 150mm 6 150mm

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Gio Console ETC 1 of 4Eos Series GENERAL INFORMATIONComplete control of conventional and moving lights, LEDs and media servers. Supports multiple users with partitioned parameter control and full backup, multiple playback faders and cue lists in a tracking, move fade environment, with unique force-feedback encoders, two integral articulating multi-touch displays and backlit keys. FEATURES 2,048 to 32,768 outputs upgradeable in 1024, 2048 or 4096 increments 16,000 control channels 12 discrete users Partitioned control Master playback pair with motorized 100mm faders Ten 100mm motorized faders x 30 pages for congurable faders, submasters, masters and grandmaster control Two 12.1 inch multi-touch LCD touchscreens for display, direct selection and context-sensitive control Four discrete palette types (IFCB) Presets function as all palette Effects provide dynamic relational and absolute progressive behavior Central information area (CIA) accesses electronic alpha keyboard, Hue + Saturation color picker, gel picker, browser and other controls Four force-feedback encoders for non-intensity parameter control Congurable high-density channel display, with format and exi-channel modes User-congurable, interactive magic sheets Up to six abstract color spaces, tinting, spectrum and fade path tools. ETCNet2 and Net3 (powered by ACN), ArtNet and Avab UDP output protocols Show import from Obsession, Express, Expression, Emphasis, Congo, Cobalt, Grand MA1, Grand MA2, Safari and Strand 500/300 Series Two individually congurable Ethernet ports, 802.3af compliant PSE Multiple MIDI and/or SMPTE TimeCode Inputs, MIDI In and Out, Analog/Serial Inputs, OSC transmit/receive Virtual Media Server function for pixel-mapped effects, images and animations Support for multiple languages, including English, German, Spanish, French, Italian, Japanese, Korean, Russian and Chinese (Simplied and Traditional) ORDERING INFORMATION Gio MODEL DESCRIPTION Gio 2K Gio console, 2,048 outputs (minimum) Gio 32K Gio console, 32,768 outputs (maximum) Ion RPU 2K Ion Remote Processor Unit, 2,048 outputs Eos RPU3 32K Eos Remote Processor Unit, 32,768 outputs Eos 1000 Up 1,024 output upgrade Eos 2000 Up 2,048 output upgrade Eos 4000 Up 4,096 output upgrade ETCnomad 256 Client for PC/Mac Output protocols are distributed using ETCNet2 DMX Nodes or Net3 DMX/RDM Gateways. I/O Gateways and Show Control Gateways provide switch closure functionality, MIDI and SMPTE TimeCode. Note: Gio with three display port outputs on the rear facepanel can be upgraded to 32,768 outputs. Gio with three DVI ports can be upgraded to 16,384 outputs. Gio Accessories MODEL DESCRIPTION Net3 RFR US Radio Focus Remote 903 MHz US Net3 RFR RX Net3 Radio Focus Remote, receiver only Net3 RFR TX Net3 Radio Focus Remote, transmitter only FADW 2x10 Fader Wing 2x10 FADW 2x20 Fader Wing 2x20 Net3 RVI Net3 Remote Video Interface Net3 RVI3 Remote Video Interface GIO FC Gio Flightcase Eos Family Ofine Editor software for Mac and PC platforms is now called ETCnomad and is available for download from www.etcconnect.com Gio requires Windows 7 compatible external monitors, 1280x1024 minimum resolution, standard, touch or multi-touch SHIPS WITH: Dust cover Two Littlites Mouse and mousepad External alphanumeric keyboard Three active display port to DVI adapters

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Gio Console ETC2 of 4Eos Series SPECIFICATIONSSYSTEM CAPACITY 2048, 4096, 6144 or 8192 Outputs/Parameters 10,000 Control Channels (devices) 10,000 Cues 999 Cue Lists 200 Active Playbacks 300 Submasters 30 Fader Pages 4 x 1000 Palettes (Intensity, Focus, Color, Beam) 1000 Presets (all palette) 1000 Groups 1000 Effects (relative, absolute or step) 1000 Macros 1000 Snapshots 1000 Curves Supports three external DVI/SVGA monitors at 1280 x 1024 minimum resolution with optional touchscreen or multi-touch control Solid state hard drive USB ports for ash drives, pointing devices, keyboards DISPLAY FUNCTIONS All show data may be viewed on a single external monitor or may be posted to the integral touchscreens. External views may be posted separately or expanded across a maximum of three monitors The Central Information Area accesses: Browser File Management System Defaults Show Defaults Desk Defaults Partition Denitions Network Conguration Show Data Utilities Printing Record T arget Lists Patch functions Help Hue and Saturation Color Picker Electronic alpha keyboard Command Line Selected Cue Error messages Context Sensitive Control Parameter Categories and individual parameters Filters Channel Displays Live channel or table view Blind cue, palette, preset and group views, in list, channel, table and spreadsheet formats User congurable to show required parameters and/or parameter categories (IFCB) Flexi-channel to determine which channels to display Zoom allows user to dene how many channels are viewed Color coded intensity levels indicate direction of move SPECIFICATIONS Color coded non-intensity levels indicate change from previous state Graphic differentiation of moving lights, single parameter devices and unpatched channels Magic Sheets User-dened interactive display layouts Objects and images may be imported Patch Views Patch by channel Patch by address Patch by Device List (RDM) Assign proportional patch value, curve, preheat value for intensity Swap pan and tilt Invert pan and tilt Custom xture editor Playback Status Display Accesses status of 30 fader pages Expanded cue list for selected cue. Optional dynamic countdown of active cues Cue List Index Effect Editor Group Editor Park Display Fader Display Isolates display to active output by fader contribution Dimmer Monitoring PLAYBACK CONTROLS Master Playback crossfade pair with 2 100mm motorized potentiometers, Go, Stop/Back and Load Thirty pages of 10 100mm motorized faders, each congurable as: Single playback, with Go and Stop/Back Grand Master with Blackout Additive, Inhibitive or Effect Submaster, with Bump and Assert/Channel Select Rate controller Playback fader controls include: Load to assign cue lists T iming Disable Off/On Release Filters Freeze Assert Manual Override Rate Go T o Cue 0 Multipart Spread Background enabled/disabled MACROS May be set to play background or foreground Startup and Shutdown Macros Disconnect Macros

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Gio Console ETC3 of 4Eos Series SPECIFICATIONSMANUAL CONTROL Channel selection from keypad and/or direct selects Lists constructed with +, -, thru Intensity set with level wheel, keypad, level button, full and out Select Last recalls last sequential channel selection set Select Manual selects all channels with manual values Select Active selects all channels with intensity above zero Ordered groups Offset; including even, odd, random, and reverse Fan Sneak User denable home Home by parameter, parameter category or all non-intensity parameters Capture Park at level Scaled park for temporary percentage adjustment Recall from and Copy to commands About provides detailed view of selected channels or record targets Undo Highlight and Lowlight, with optional user-denable Rem Dim Lamp controls to strike and douse arc sources, calibrate devices PROGRAMMING FEATURES Channel Functions Non Intensity parameters set via numeric entry or pageable encoders Encoders support software controlled tactile response Local display of color and gobo images Color matching to gel selector or Hue/Saturation color picker Apply discrete time and delay per channel parameter Palette and Preset Functions Record and Update T oggle display to absolute data Up to 99 decimal values may be inserted between any two whole numbers Effects Create live or blind Pattern based relative dynamic effects Absolute effects Step effects Multi-part effects easily synchronize parameter activity Entry mode determines how parameters enter effects Exit mode determines how parameters depart effects Cue Recording Cue List HTP/LTP Intensity Cue List Independent Cue List Assert Fader as progress controller or intensity master Record manual values or channels in use Autoplay back recorded cues Referenced or auto-mark instructions Block at cue or parameter level SPECIFICATIONS Assert at cue or parameter level Allfade ag Follow or hang times Out of sequence link Loop functions Cue level parameter category timing 20 part multi-part cues with default part assignment Cue level rate override Mark ags for Auto or Referenced Marks Up to 99 decimal cues between each two whole numbered cues Execute List T riggers snapshot with delay T riggers macros with delay T riggers go of other cues Syncs go to multiple cue lists Show control triggers Analog triggers Update and Update T race functions Undo record and delete Submaster Recording and Playback 300 additive, inhibitive or effect submasters Bump button timing for fade up/dwell/fade out Assert/Channel select button Exclusive or Shielded Mode Background enable/disable Restore to background or minimum value LTP/HTP intensity Fader as progress controller or intensity master Bump button to mark NPs Independent status Motorized faders match level across all devices and when paging Submaster mapping on the y Curves Assignable in patch to modify dimmer output ramp Assignable at cue or cue part level to modify intensity crossfade proe or non-intensity parameter ramping INTERFACES Ethernet (two ports) 802.3af compliant PSE ETCNet2, Net3 (powered by ACN), Artnet and A vab UDP output protocols T wo DMX512 Ports (RDM Ready) Contact Closure T riggers Via D-Sub Connector Three video connectors support DVI/SVGA external displays (1280x1024) with optional single-touch or multi-touch screen control USB multipurpose bus (seven ports) Phone Remote MIDI In/Out (MIDI T imecode, MIDI Show Control) SMPTE T imecode through Gateway Contact closure (12 analog inputs, 12 SPDT contact outputs, RS-232) through Gateway ELECTRICAL AC Input (100 240V at 50/60 Hz) Power consumption (less external monitors) approximately 2 amps at 120V and 1 amp at 230/240V

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Gio Console ETC4 of 4Eos Series PHYSICAL Gio Dimensions* MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm Gio 10.9 276.86 30.5 774.7 23.2 589.28 Gio in Shipping Container 34.5 876.3 27.3 692.2 10.1 257.2 Gio in Road Case 34 863.6 36.2 919.5 9.3 234.2Gio Weights* MODEL WEIGHT lbs kgs Gio Console 45 20.5 Gio in Shipping Container 60 27.2 Gio in Road Case 80 36.3*Weights and dimensions typical 30.5 774.7mm 23.2 589.28mm .31 7.87mm 10.9 276.86mm Corporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web Gio products protected by US and International patents pending 30.5 774.7mm 23.2 589.28mm .31 7.87mm 4.23 107.44mm

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Ion Console ETC 1 of 4Eos Series GENERAL INFORMATIONThe Ion control console provides fully-integrated control of LED, conventional and moving lights in a compact, portable package. Up to four control deviceseach with its own workspacecan be used for programming and playback. Synchronized backup is also optional. With Universal Fader Wings, multiple cue lists and up to 999 submasters are available. FEATURES 1,024 to 6,144 outputs -Upgradeable in 512 incr ements 16,000 channels Four discr ete users Master playback pair with 60mm faders Four discr ete palette types (IFCB) Pr esets function as all palette Ef fects provide dynamic relational or absolute progressive action Central information ar ea (CIA) accesses electronic alpha keyboard, the browser and other controls Congurable high-density channel display, with format and exi-channel modes User-congurable interactive magic sheets List views of all r ecord targets ETCNet2, Net3, ArtNet and Avab UDP output protocols Show import fr om Obsession, Express, Expression, Emphasis, Congo, Cobalt and Strand 500/300 Series, GrandMA 1 and GrandMA 2 In/Out: local DMX/RDM x 2, MIDI In/Out, Networking DMX, MIDI, SMPTE, SERIAL and contact closur e via Net3 Gateways OSC T ransmit/Receive UDP T ransmit/Receive V irtual Media Server function for pixel-mapped effects, images and animations Support for multiple languages, including English, German, Spanish, Fr ench, Italian, Japanese, Korean, Russian and Chinese (Simplied and T raditional) ORDERING INFORMATION Ion MODELDESCRIPTION Ion 1000Ion Console, 1,024 outputs minimum Ion 6000Ion Console, 6,144 outputs maximum Ion RPU 2KIon Remote Processor Unit, 2,048 outputs Ion RPU 6KIon Remote Processor Unit, 6,144 outputs Ion 500 Up512 Output Upgrade ETCnomad 256Client for PC/MacETCNet2 or Net3 is distributed using Net3 Gateways, which provide DMX, MIDI/SMPTE Time Code and switch-closure functionality. MIDI In/Out and switchclosure are also available locally at the device. Two universes of DMX512A output are available at the device via 5-pin XLR. These ports also support RDM Note: Windows XP-based Ion desks can be upgraded to 3072 outputs. Windows 7 Ion desks can be upgraded to 6144 outputs. Ion Accessories MODEL DESCRIPTION Net3 RFR Net3 Radio Focus Remote Net3 RFR-RX Net3 Radio Focus Remote, Receiver Only Net3 RFR-TX Net3 Radio Focus Remote, Transmitter Only FADW 1x20Universal Fader Wing 1x20 FADW 2x10Universal Fader Wing 2x10 FADW 2x20Universal Fader Wing 2x20 Net3 RVI Net3 Remote Video Interface Net3 RVI 3Net3 Remote Video Interface Eos Ofine Editor software for Mac and PC platforms is now called ETCnomad and is available for download from www.etcconnect.com Ion requires external monitors compatible with Windows 7, 1280x1024 minimum resolution, standard, touch or multi-touch SHIPS WITH: Dustcover Mouse and mousepad Exter nal alphanumeric keyboard

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Ion Console ETC2 of 4Eos Series SPECIFICATIONSSYSTEM CAPACITY 1,024 to 6,144 outputs 16,000 Channels 10,000 Cues 999 Cue Lists 4 x 1000 Palettes (Intensity, Focus, Color, Beam) 999 Submasters 1,000 Presets (all palette) 1,000 Groups 1,000 Effects (relative, absolute or step) 1,000 Macros 1,000 Snapshots 1,000 Color Paths Two DVI ports and one Display Port to support a maximum of two external displays at 1280x1024 minimum resolution, with optional touchscreen control Solid-state hard drive 7 USB ports for ashdrives, pointing devices, keyboards DISPLAY FUNCTIONS All show data may be viewed on one or two external monitors. Views may be expanded across both from easilyaccessed front-panel controls. Three user-congurable workspaces per display, with split screen/sizing controls The Central Information Area accesses: Browser File Management System Defaults Show Defaults Desk Defaults Network Conguration Show Data Utilities Printing Record Target Lists Patch functions Help Electronic alpha keyboard Command Line Selected Cue Error messages Parameter Categories and individual parameters Filters Channel Displays Live channel or table view Blind cue, palette, preset and submaster views in list, channel, table and spreadsheet formats User-congurable to show required parameters and/or parameter categories (IFCB) Flexi-channel to determine which channels to display Zoom allows user to dene how many channels are viewed Color-coded intensity levels indicate direction of move Color-coded non-intensity levels indicate change from previous state Graphic differentiation of moving lights, single-parameter devices, unpatched channels and deleted channels SPECIFICATIONS Magic Sheets User-denable interactive views Images and symbols may be imported Patch Views Patch by channel Patch by address Patch by device (RDM) Assign proportional patch value, curve, preheat value for intensity Swap pan and tilt Invert pan and tilt Custom xture editor Playback Status Display Graphical representation of cue list status, past and future cues Expanded cue list for selected cue Cue List Index Effect Editor Group Editor Park Display Dimmer Monitoring PLAYBACK CONTROLS Master Playback crossfade pair with two 60mm potentiometers, Go, Stop/Back and Load buttons Grand Master with Blackout Playback fader controls include: Timing Disable Off Release Manual Override Rate A maximum of 200 playback faders and 300 submasters (additive or inhibitive) via optional fader wings A total of Six Universal Fader Wings can be attached Macros May be set to play background or foreground Startup and Shutdown Macros Disconnect Macros MOVING LIGHT CONTROLS Four rotary encoders with toggle state, which post selected parameter to command line Labeling and current parameter value in integral LCD display Focus, Color, Form, Image, Shutter and Custom paging controls Flip Parameters selectable by category (IFCB), sub-category (Form, Image, Shutter) or individually for command-line actions, such as setting discrete timing

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Ion Console ETC3 of 4Eos Series SPECIFICATIONSMANUAL CONTROL Channel selection from keypad and/or virtual direct selects Lists constructed with +, -, thru Intensity set with level wheel, keypad, full and out Select Last recalls the last sequential channel selection that was set Ordered groups Offset, including even, odd, random, reverse Fan Sneak Remainder Dim and restore User-denable home Home by parameter, parameter category or all non-intensity parameters Capture Park at level Scaled park for temporary percentage adjustment Recall from and Copy to commands About provides detailed view of selected channels or record targets Undo manual control, record, update and delete operations Highlight and Lowlight, with optional Rem Dim Lamp controls to strike, douse, calibrate xtures PROGRAMMING FEATURES Channel Functions Non-Intensity parameters set via numeric entry or pageable encoders Color-matching to gel selector and six color spaces Color Path, color tinting and color spectrum tools. Apply discrete time and delay per channel parameter Palette and Preset Functions Record, Record Only and Update functions Toggle display to absolute data Up to 99 decimal values may be inserted between any two whole numbers Filter states to rene contents of record targets Selective store to rene contents of record targets Effects Create live or blind Pattern-based relative dynamic effects Absolute effects Step effects Cycle time, trail and grouping determine channel distribution and behavior when moving through effect Duration of innite, a specic amount of time or number of passes through pattern Effect attributes to modify basic behavior Cue level overrides Channel level overrides Entry mode determines how parameters enter effects Exit mode determines how parameters depart effects Cue Recording Cue List HTP/LTP Intensity Cue List Priority Cue List Assert Record manual values or channels in use Auto-playback recorded cues SPECIFICATIONS Referenced mark instructions or auto-mark Block at cue or parameter level Assert at cue or parameter level All-fade ag Follow or hang times Out of sequence link Loop functions Preheat enable Cue-level parameter-category timing Twenty-part multi-part cues with default part assignment Cue-level rate override Up to 99 decimal cues between every two wholenumbered cues Execute List Triggers macros with delay Triggers go of other cues Syncs go to multiple cue lists Show-control triggers Analog triggers Update and Update Trace functions Undo record and delete Submasters Additive, effect or inhibitive Bump button timing to fade up, dwell and fade out Assert/Channel select button Exclusive or Shielded mode Faders as progress controller or intensity master Bump button to mark NPs Independent status Curves Assignable in patch to modify dimmer output ramp Assignable at cue or cue-part level to modify intensity crossfade prole or non-intensity parameter ramping INTERFACES Two DMX/RDM Ports Two Ethernet ports (ETCNet2, Net3, Artnet and Avab UDP output protocols) Contact Closure triggers via D-Sub connector Two DVI connectors support two external DVI displays (1280x1024) with optional touchor multi-touch screen control One Display Port connector Seven multipurpose USB ports OSC Transmit/Receive UDP Transmit/Receive Net3 Radio Focus Remote MIDI In/Out (Time Code, Show Control) Additional MIDI Time Code, Show Control through Gateway SMPTE Timecode through Gateway Additional contact closure (12 analog inputs, 12 SPDT contact outputs, RS-232) through Gateway One eSATA port ELECTRICAL AC input (100-240V at 50/60Hz) 2A at 120V or 1A at 240V maximum power consumption

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Ion Console ETC4 of 4Eos Series PHYSICAL Ion Dimensions* MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm Ion Console 5.2 132 17.9 455 18.2 462Ion Weights* MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs Ion Console 20.35 9.23 23.38 10.61*Weights and dimensions typical 18.2 462 mm 5.2 132 mm 17.9 455 mm Corporate Headquarters 3031 Pleasant View Rd, PO Box 620979, Middleton WI 53562 0979 USA Tel +1 608 831 4116 Fax +1 608 836 1736 London, UK Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU, UK Tel +44 (0)20 8896 1000 Fax +44 (0)20 8896 2000 Rome, IT Via Pieve Torina, 48, 00156 Rome, Italy Tel +39 (06) 32 111 683 Fax +44 (0) 20 8752 8486 Holzkirchen, DE Ohmstrasse 3, 83607 Holzkirchen, Germany Tel +49 (80 24) 47 00-0 Fax +49 (80 24) 47 00-3 00 Hong Kong Room 1801, 18/F, Tower 1 Phase 1, Enterprise Square, 9 Sheung Yuet Road, Kowloon Bay, Kowloon, Hong Kong Tel +852 2799 1220 Fax +852 2799 9325 Web www.etcconnect.com Copyright ETC. All Rights Reserved. All product information and specications subject to change. 4310L1001 Rev. L USA 07/15

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DMX/RDM Four-Port Gateway ETC 1 of 4Gateway Series GENERAL INFORMATIONETCs DMX/RDM Four-Port Gateway provides data distribution using the quality and reliability of ETCs network technology. Built for Net3 using industry-standard streaming ACN and sACN, the Four-Port Gateway unlocks the power of your networked system. The Four-Port Gateway also uses bidirectional Ethernet communication with other network devices to send or receive DMX512 and Remote Device Management (RDM) signals. APPLICATIONS Roadhouses Touring University/professional theaters Convention halls Tech tables Stage manager panels System integration FEATURES Distributes DMX and RDM data to any input/output device over Ethernet Supports Net3 protocol powered by ACN DMX/RDM Output/Input Simple conguration and service of each port LCD screen for labeling, status and conguration information Power and Network status indicators Power over Ethernet (PoE) or external DC power supply Congurable using Net3 Concert Software ORDERING INFORMATION Four-Port Gateways MODEL DESCRIPTION N34G-4OUT 4-port DMX/RDM Gateway 4 Output N34G-4IN 4-port DMX/RDM Gateway 4 Input N34G-4TERM 4-port DMX/RDM Gateway 4 Terminal Strip N34G-4RJ 4-port DMX/RDM Gateway 4 RJ45 Connectors N34G-DIN 4-port DMX/RDM Gateway DIN-rail MountFour-Port Gateway Components MODEL DESCRIPTION N34G-FB Gateway includes 4 blank plates N34G-MM Input Module Male 5-pin XLR N34G-FM Output Module Female 5-pin XLR N34G-TM Terminal Strip Module Input or Output N34G-RJM RJ45 Module Input or Output N34G-BM Blank Module For any unused portFour-Port Gateway Accessories MODEL DESCRIPTION N34G-FP4F Gateway Front-Panel Kit DMX 4 Out1N34G-4P2M2F Gateway Front-Panel Kit DMX 2 In 2 Out1PS-INTL Gateway Universal Power Supply2N3GA-RM Gateway Rack-Mount Kit N3GA-HBU Gateway Hanging-Bracket Kit with U-Bolt1Does not include required Rack-Mount kit2PS-INTL includes plugs for United States/Japan, Europe, and Great Britain. Compatible with Four-Port, Two-Port, Show Control and I/O Gateways. NET3 AC N G ATE WA Y DM X R DM PoE 802.3af

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DMX/RDM Four-Port Gateway ETC2 of 4Gateway Series SPECIFICATIONSFUNCTIONAL Supports Net3/ACN (ANSI E1.31 and E1.17) Supports RDM (ANSI E1.20) Supports USITT DMX512-A (ANSI E1.11) USITT DMX512 and ANSI E1.11 DMX512-A compliant Advanced Input Patch (AIP) allows any incoming address to be associated with any sACN address Flexible Output Patch (FOP) allows a 512-address universe to begin at any output address Support for per-addressor per-universe-level priority MECHANICAL Menu button for backlight/paging control Backlit LCD display for identication and status reporting and basic conguraton. Rack-Mount/Portable/Touring Fabricated from 16-gauge cold-rolled steel Black, Fine-textured, powder-coat nish C-clamp and U-bolt hardware available Half 19 equipment rack width allows for up to eight DMX ports in 1U height DIN-rail Extruded aluminium enclosure Mounting complies with DIN43880 (35/7.5 rail) DIN installation enclosure availabl Network, power and data activity LED indicators Blue power indicator, green network activity indicator Bi-color DMX activity indicator Front-panel RJ45 for connection to lighting network Reset button for hard reset or forced reboot PROCESSOR Maximum delay time from input to output not greater than one packet time Selectable DMX refresh rate with a maximum at least 40Hz ENVIRONMENTAL Ambient operating temperature: 0 to 40C (32 to 104F) Operating humidity: 5% 95% non-condensing Storage temperature: -40 to 70C (-40 to 158F) ELECTRICAL Compliant with IEEE 802.3i for 10BASE-T, 802.3u for 100BASE-TX and 802.3af for Power over Ethernet Optional 8-28vDC power input for use with non-PoE systems Maximum ve-watt current draw CE compliant and ETL listed MODULAR DMX PORTS (NON DIN-RAIL MODELS) Supports up to four DMX ports independently congurable as inputs or outputs Module options include: XLR 5-Pin Male DMX input connector XLR 5-Pin Female DMX output connector RJ45 DMX connector Terminal strip connector Fully optically-isolated input from the Gateway electronics Withstands fault voltages of up to 250VAC Integrated DMX/RDM termination SPECIFICATIONSCONFIGURATION Conguration provided by Net3 Concert Supports up to 512 DMX addresses per port Supports up to 63,999 Streaming ACN universes Up to 2,048 channels in combination of data input or output DMX data input or output congurable by user Multiple outputs of a single DMX universe (DMX splitter) from a single Gateway Supports discrete DMX universe outputs per port Multiple sources may be combined to the network with each source or address allowed an independent priority Individual port start address and offset User-congurable labeling ADDITIONAL INFORMATIONDMX512 Often shortened to DMX (Digital Multiplex), this communication protocol is used mainly to control dimmers and multi-parameter xtures. A universe of DMX is dened as 512 channels. DMX sends a nearly continuous stream of level information for each control channel. It is a form of RS-485 digital serial communication. RDM Remote Device Management (ANSI E1.20) is a protocol enhancement to DMX512 that allows low-speed bidirectional communication between a system controller and attached RDM devices over a standard DMX line. This protocol will allow remote conguration, status monitoring, and management of devices. sACN Streaming ACN (ANSI E1.31), sends DMX-style control over TCP/ IP networks. It provides a fast and efcient mechanism to transport the well-understood DMX protocol over Ethernet using an industrystandard protocol. ACN Architecture for Control Networks (ANSI E1.17) is a standard for high-speed bidirectional communication over TCP/IP on Ethernet network infrastructure. ACN is an open suite of protocols used between network devices for the purposes of greater and more adaptive control. NET3 ETCs enhanced implementation of the standard ACN Protocol Suite (ANSI E1.17 and E1.31) including additional communication protocols for specialized applications and support of legacy systems.

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DMX/RDM Four-Port Gateway ETC3 of 4Gateway Series TYPICAL SYSTEM RISER Ethernet Ethernet Ethernet Ethernet Ethernet Ethernet DMX DMX/RDM Link Power SmartFade ML DMX devices Sensor+ Rack Unison ERn2 Network switch Net3 ACN DMX Gateway Net3 ACN DMX Gateway Eos Paradigm T ouchscreen P-LCD

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DMX/RDM Four-Port Gateway ETC4 of 4Gateway Series PHYSICAL Net3 Four-Port Gateway Dimensions MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm Gateway Standard 1.71 44 8.5 216 8.2 208 Gateway DIN-Rail Mount 4.13 105 8.03 204 1.61 41Net3 Four-Port Gateways MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs N34G-4OUT 6 2.7 8 3.6 N34G-4IN 6 2.7 8 3.6 N34G-4TERM 6 2.7 8 3.6 N34G-4RJ 5.5 2.5 8 3.6 N34G-DINBundles come complete with the Gateway, Modules, Rack-Mount Kit and Universal Power Supply.Net3 Four-Port Gateway Components MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs N34G-4B 3 1.4 7 3.2 N34G-MM 0.3 0.1 1 0.5 N34G-FM 0.3 0.1 1 0.5 N34G-TM 0.4 0.2 1 0.5 N34G-RJM 0.4 0.2 1 0.5Net3 Four-Port Gateway Accessories MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs N34G-FP4F111.1 0.5 2 0.9 N34G-FP2M2F11.1 0.5 2 0.9 N3GA-PS 0.5 0.2 1 0.5 N3GA-RM 1.5 0.7 2 0.9 N3GA-HBU 0.8 0.4 1 0.51Does not include required Rack-Mount Kit 1.71 44mm 1.65 43mm 8.5 216mm 5.5 140mm minimum clearance 8.2 208mm 7.5 190mm 1.22 31mm 0.39 10mm 8.03 204mm 4.13 105mmCorporate Headquarters 3031 Pleasant View Rd, PO Box 620979, Middleton WI 53562 0979 USA Tel +1 608 831 4116 Fax +1 608 836 1736 London, UK Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU, UK Tel +44 (0)20 8896 1000 Fax +44 (0)20 8896 2000 Rome, IT Via Pieve Torina, 48, 00156 Rome, Italy Tel +39 (06) 32 111 683 Fax +44 (0)20 8752 8486 Holzkirchen, DE Ohmstrasse 3, 83607 Holzkirchen, Germany Tel +49 (80 24) 47 00-0 Fax +49 (80 24) 47 00-3 00 Hong Kong Room 1801, 18/F, Tower 1 Phase 1, Enterprise Square, 9 Sheung Yuet Road, Kowloon Bay, Kowloon, Hong Kong Tel +852 2799 1220 Fax +852 2799 9325 Web www.etcconnect.com Copyright ETC. All Rights Reserved. All product information and specications subject to change. 4260L1001 Rev. I USA 09/16

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DMX/RDM Two-Port Gateway ETC 1 of 4Net3 Gateway Series GENERAL INFORMATIONThe DMX/RDM T wo-Port Gateway provides network data distribution of RDM and data-level information. Built on the reliability and quality of ETCs Network development, DMX/RDM Gateways are built for the industry-standard ACN protocol. The Gateway is an Ethernet device that uses bidirectional communication with other network devices to send and receive DMX512 and RDM data, as well as ACN/sACN. APPLICATIONS Roadhouses T ouring University/professional theaters Convention halls T ech tables Stage manager panels System integration FEATURES Distributed DMX and RDM over Ethernet Supports Net3 protocol powered by ACN DMX/RDM Output/Input Distributes DMX data to any input/output device T wo DMX connections using 5-pin Male or Female XLR LCD screen for labeling, status and conguration information Power and Network status indicators Power over Ethernet (PoE) or external DC power supply Congurable using Network Software utility (GCE/NCE) or directly from ACN ORDERING INFORMATION Net3 Two-Port Gateways MODEL DESCRIPTION N32G-2F T wo-Port DMX/RDM Output Gateway N3T2G-2F T wo-Port DMX/RDM Output T ouring Gateway N32G-2M T wo-Port DMX/RDM Input Gateway N3T2G-2M T wo-Port DMX/RDM Input T ouring GatewayNet3 Two-Port Gateway Accessories MODEL DESCRIPTION N32G-BB Surface-Mount T wo-Gang Back Box N32G-2T T erminal Strip Connector Kit UBOLT T ouring Gateway U-Bolt Hardware Kit 400CC T ouring Gateway C-Clamp Hardware Kit N3GA-PS Net3 Gateway Universal Power Supply**N3GA-PS includes plugs for United States/Japan, Europe, Great Britan, and Australia/China. Used with Net3 Four-Port, T wo-Port, Show Control and I/O Gateways. PoE 802.3af NE T3 AC N GA TE W AYDM X RD M NE T3 ACN Gatewa y DMX RDM

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DMX/RDM Two-Port Gateway ETC2 of 4Net3 Gateway Series SPECIFICATIONSGENERAL Distributes DMX over Ethernet with any compatible input or output device RoHS Compliant (lead-free) CE compliant and ETL LISTED FUNCTIONAL Supports Net3/ACN (ANSI E1.31 and E1.17) Supports RDM (ANSI E1.20) Supports USITT DMX512-A (ANSI E1.11) USITT DMX512 and ANSI E1.11 DMX512-A compliant Compliant with IEEE 802.3i for 10BASE-T 802.3u for 100BASE-TX and 802.3af for Power over Ethernet Advanced Input Patch (AIP) allows any incoming address to be associated with any sACN address Flexible Output Patch (FOP) allows a 512 address universe to begin at any output address Support for per-address or per-universe level priority MECHANICAL Fabricated from 16-gauge cold-rolled steel Black, ne-textured, scratch-resistant, powder-coat nish T wo integrated DMX Input or Output ports Menu button for backlight/paging control Backlit LCD display for identication and status reporting: Gateway identication Network conguration DMX port conguration DMX port status RDM conguration Front and rear power and data indicators Blue power indicators Green network activity indicator RJ45 for connection to lighting network Reset button for hard reset or forced reboot Flush-mount using standard two-gang back box (Raco 691 with half-inch-minimum mud ring or Raco 696 deep box) Surface-mount back boxes available form ETC (4105A2002) Hanging bracket and connectorized back box included with T ouring version (C-clamp and U-Bolt hardware available) PROCESSOR Maximum delay time from input to output not greater than one packet time Selectable DMX refresh rate with a maximum at least 40Hz ENVIRONMENTAL Ambient operating temperature: 0 to 40C (32 to 104F) Operating humidity: 5% 95% non-condensing Storage temperature: -40 to 70C (-40 to 158F) POWER Supports IEEE802.3af Power over Ethernet or optional 8-28Vdc external power supply Maximum power consumption: 5 watts DMX PORTS T wo integrated 5-pin XLR connectors Software-congurable for input or output Fully optically-isolated input from the Gateway electronics Withstands fault voltages of up to 250V AC Integrated DMX/RDM termination SPECIFICATIONSCONFIGURATION Net3 Mode conguration provided by Gateway Conguration Editor (GCE) or directly from ACN Supports up to 512 DMX addresses per port Supports up to 63,999 Streaming ACN universes Up to 1,024 channels of data input or output DMX data input or output congurable by user Multiple outputs of a single DMX universe (DMX splitter) from a single Gateway Supports discrete DMX universe outputs per port Multiple sources may be combined to the network with each source or address allowed an independent priority Individual port start address and offset User-congurable labeling ADDITIONAL INFORMATIONDMX512 Often shortened to DMX (Digital Multiplex), this communication protocol is used mainly to control dimmers and multi-parameter xtures. A universe of DMX is dened as 512 channels. DMX sends a nearly continuous stream of level information for each control channel. It is a form of RS-485 digital serial communication. RDM Remote Device Management (ANSI E1.20) is a protocol enhancement to DMX512 that allows low-speed bidirectional communication between a system controller and attached RDM devices over a standard DMX line. This protocol will allow remote conguration, status monitoring, and management of devices. sACN Streaming ACN (ANSI E1.31), sends DMX-style control over TCP/ IP networks. It provides a fast and efcient mechanism to transport the well-understood DMX protocol over Ethernet using an industrystandard protocol. ACN Architecture for Control Networks (ANSI E1.17) is a standard for high-speed bidirectional communication over TCP/IP on Ethernet network infrastructure. ACN is an open suite of protocols used between network devices for the purposes of greater and more adaptive control. NET3 ETCs enhanced implementation of the standard ACN Protocol Suite (ANSI E1.17 and E1.31) including additional communication protocols for specialized applications and support of legacy systems.

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TYPICAL SYSTEM RISER Ethernet Ethernet Ethernet Ethernet Ethernet Ethernet DMX DMX/RDM Link Power SmartFade ML DMX devices Sensor+ Rack Unison ERn2 Network switch Net3 ACN DMX Gateway Net3 ACN DMX Gateway Eos Paradigm T ouchscreen P-LCD DMX/RDM Two-Port Gateway ETCNet3 Gateway Series3 of 4

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Corporate Headquarters London, UK Rome, IT Holzkirchen, DE Hong Kong Web 1.91 48mm 3.5 89mm 3.75 95mm 4.88 124mm 4.85 123mm 5.5 140mm (minimum clearance) PHYSICAL Net3 Two-Port Gateway Dimensions MODEL HEIGHT WIDTH DEPTH inches mm inches mm inches mm N32G-2F / 2M 4.85 123 4.88 124 5.41 137 N3T2G-2F / 2M 6.47 165 4.88 124 5.41 137 DMX/RDM Two-Port Gateway ETCNet3 Gateway Series 1.47 37mm C-clamp assembly for 1.5 schedule 40 pipe 4.88 124mm 5.00 127mm 1.91 48mm 3.50 89mm 5.00 127mm U-Bolt assembly for 1-.5 schedule 40 pipe 1.47 37mm 5.00 127mm 1.91 48mm 3.50 89mm 5.00 127mm 4.88 124mm4 of 4Net3 Two-Port Gateway W eights MODEL WEIGHT SHIPPING WEIGHT lbs kgs lbs kgs N32G-2F / 2M 2.0 1.0 4.5 2.0 N3T2G-2F / 2M 3.9 1.8 4.8 2.2 0.41 DIA. 10mm DIA. (4 Holes) 0.53 DIA. 13mm DIA. 3.54 90mm 0.51 13mm 1.70 43mm 3.50 89m m 2.89 73mmTouring Bracket (Top V iew)

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Product Overview NETGEAR ProSAFE 24 Port Gigabit Rackmount Switch 10/100/1000 Mbps Instant Connect ivity with Reliable Performance o 24 auto sensing Gigabit ports connects up to 10x faster than Fast Ethernet for maximum performance o 1U Rackmountable form factor o Plug n Play connectivity easily installs into any network o Energy efficient with up to 60% lower power consumption o Rigorously tes ted for reliability, built to last o LIFETIME WARRANTY o LIFETIME Advanced Tech Support via chat o LIFETIME Next Business Day Replacement Switch Your Switch JGS524 The ProSAFE Plus16 and 24 port Gigabit Switch provides simple network management delivering network monitoring, traffic prioritization and network segmentation beyond simple connectivity. They also come with features such as IGMP snooping, cable diagnostic s, loop prevention and Auto DoS prevention, providing much needed improvement for network performance and resilience. Package Contents ProSAFE Gigabit Ethernet Switch (JGS524) Rack mount kit Power cord Quick Install Guide Installation CD with Configuration Utility software Warranty/support card

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Physical Specifications Dimensions: 18.1 x 9.1 x 3.2 inches Weight: 5 pounds

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ETCnomad A. General 1. The dongle protected application shall allow the user to connect a PC running Windows 7/8+ or Apple Macintosh running OS X to any Eos or Cobalt family control network and view, create, modify and control playback in a primary/backup or client role. The product shall also function as a stand alone controller for either Eos or Cobalt. The product shall run natively on a Macintosh computer without the need for PC emulation software. Products that do not run in this manner shall not be acceptable. The pro duct shall be the ETCnomad as manufactured by Electronic Theatre Controls, Inc., or equal. 2. The product shall be available in five configurations, as determined by output count; 256 (1/2 universe), 512, 1024, 1536, 2048. All versions may be upgraded wit h no hardware change to the maximum output count of 2048. 3. The application shall allow a user with the aid of a mouse, alphanumeric keyboard, customized USB control devices, programming wings, playback wings or other programming aids to perform operation s on a personal computer using the same commands used in Eos or Cobalt family of consoles. 4. When used without the protection dongle, the same installation of software may be used in an offline programming environment. 5. The application shall support sAC N and Artnet (multi cast) output protocols. 6. The application shall require: a. Windows personal computer minimum requirements: 1. Intel based multi core processor with clock frequency higher than 2.0 GHz 2. Windows 7 or 8+ with >500 MB free disk space 3. Screen resolution of at least 1280x1024 4. 512 MB of RAM minimum (1 GB recommended) 5. 64 MB video card (Cobalt requires hardware accelerated OpenGL) 6. RJ 45 Ethernet network adapter (required to communicate with a lighting network, DMX output devices) 7. USB ports for connection of Nomad dongle, accessories b. Macintosh computer minimum requirements: 1. 1) Intel based multi core processor with clock frequency higher than 2.0 GHz 2) OS X Mavericks+ (10.9) with >500 MB free disk space

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ETCnomadETC 1 of 2Eos Series Cobalt Series GENERAL INFORMATIONFull-featured PCand Mac-based lighting control application for use with conventional and moving lights, media servers and LED luminaires. An ETCnomad can be used with either Eos or Cobalt operating systems, in a primary, backup, client or ofine environment. To output to a system, Eos or Cobalt Nomad lighting software requires the use of the ETCnomad key. When connected as a client, an ETCnomad lighting controller accesses the full output capacity of the connected system. Without the key, ETCnomad operates ofine only. The ETCnomad 256 key replaces the Cobalt and Eos Client software kit and is ideal for student applications and designer remotes. Optional fader wings, programming wings, X-keys and compatibility with USBMIDI panels allow extended and customizable control. FEATURES From 256 to 6144 outputs, upgradable in 512 increments. ETCnomad 256 replaces the Cobalt and Eos client software kit ETCnomad lighting controllers can operate in a stand-alone, primary/backup and/or client environment When an ETCnomad lighting controller is connected as a client, output capacity is determined by the system it is connected to Net3/ACN/sACN and Artnet Ethernet lighting protocols DMX/RDM via ETC Gadget DMX/RDM via Net3 DMX/RDM Gateways OSC Transmit/Receive UDP Transmit/ReceiveSee Cobalt, Eos and Element datasheets and operation manuals for ETCnomad lighting controller featuresACCESSORIES Eos PGW (Eos Programming Wing) Cobalt PGW (Cobalt Programming Wing) 2x10 Universal Fader Wing (PC only) 2x20 Universal Fader Wing (PC only) Congo jr Master Playback Wing (Cobalt operation only) RFR/aRFR/iRFR remote controls Alpha-numeric keyboard USB mouse ORDERING INFORMATION ETCnomad MODEL DESCRIPTION ETCnomad256 ETCnomad 256 Lighting Controller Kit, 256 outputs (minimum capacity) ETCnomad6144 ETCnomad 6144 Lighting Controller Kit, 6144 outputs (maximum capacity) ETCnomad256 Up Output Upgrade 256 to 512 outputs ETCnomad512 Up 512 Outputs Upgrade (one universe) IMPORTANT ETCNOMAD LIGHTING CONTROLLER ORDERING INFORMATION To increase the capacity of an ETCnomad lighting control system with fewer than 6144 outputs, order additional 512-output upgrades. A 256 output system can be upgraded to 512 via a separate part number. A single universe of output may be distributed using an ETC Gadget USB to DMX/RDM converter. Up to four gadgets are supported. Additional or all outputs may be distributed via Ethernet protocols directly (Net3/ACN/sACN, or ArtNet) or by compatible Ethernetdistribution hardware, such as Net3 DMX/RDM Gateways. The Gadget and/or network equipment must be purchased separately from the ETCnomad Lighting Control kit. Note: The ETCnomad lighting controller does not support ETCNet2/EDMX protocols.

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ETCnomadETC2 of 2Eos Series Cobalt Series SPECIFICATIONSMINIMUM HARDWARE REQUIREMENTS Windows personal computer minimum requirements: Intel-based multi-core processor with clock frequency higher than 2.0 GHz (2.5GHz for 6144) Windows 7 or higher with > 500 MB free disk space Screen resolution of at least 1280x1024 512 MB of RAM minimum (1 GB 2048, 2 GB for 3072, 4 GB 6144) 64 MB video card (Cobalt requires hardware-accelerated OpenGL) RJ-45 Ethernet network adapter (required to communicate with a lighting network, DMX output devices) USB ports for connection of Nomad dongle, accessories Macintosh computer minimum requirements: Intel-based multi-core processor with clock frequency higher than 2.0 GHz (2.5GHz for 6144) OS X Mavericks (10.9) or later with >500 MB free disk space Screen resolution of at least 1280x1024 512 MB of RAM minimum (1 GB 2048, 2 GB for 3072, 4 GB 6144) 64 MB Video Card (Cobalt requires hardware accelerated OpenGL) RJ-45 Ethernet network adapter (required to communicate with a lighting network, DMX output devices) NOTE: PC Congo owners can upgrade to ETCnomad lighting control by updating their software to Cobalt version 7.x or newer. No additional hardware is required the PC Congo dongle will continue to output to the capacity originally purchased. PC Congo and Cobalt ETCnomad lighting control keys can be swapped for the new universal ETCnomad lighting key by contacting ETC for an RMA for the old key. Keys must be returned to ETC before a replacement key will be shipped. NOTE: Eos and Congo/Cobalt Software Kits will operate as ETCnomad 256 lighting controllers with no changes. ORDERING INFORMATION ETCnomad Accessories MODEL DESCRIPTION FADW 2x10(CB) Fader Wing 2x10, Ion Black or Congo Blue FADW 2x20(CB) Fader Wing 2x20, Ion Black or Congo Blue MASTERWING Congo jr Master Playback Wing (Cobalt only) Eos PGW Eos Programming Wing Cobalt PGW Cobalt Programming Wing Net3-RVI3 Net3 Remote Video Interface 3 (RVI3) Net3 RVI Net3 Remote Video Interface (RVI) Net3-RFR Net3 Radio Focus Remote (RFR) GADGET ETC Gadget USB/DMX Converter ETCnomad lighting control software is available for download from www.etcconnect.com/NomadLightingController NOTE: The ETCnomad lighting controller does not support the ETCNet2/EDMX protocol. Corporate Headquarters 3031 Pleasant View Rd, PO Box 620979, Middleton WI 53562 0979 USA Tel +1 608 831 4116 Fax +1 608 836 1736 London, UK Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU, UK Tel +44 (0)20 8896 1000 Fax +44 (0)20 8896 2000 Rome, IT Via Pieve Torina, 48, 00156 Rome, Italy Tel +39 (06) 32 111 683 Fax +39 (06) 32 656 990 Holzkirchen, DE Ohmstrasse 3, 83607 Holzkirchen, Germany Tel +49 (80 24) 47 00-0 Fax +49 (80 24) 47 00-3 00 Hong Kong Room 1801, 18/F, Tower 1 Phase 1, Enterprise Square, 9 Sheung Yuet Road, Kowloon Bay, Kowloon, Hong Kong Tel +852 2799 1220 Fax +852 2799 9325 Web www.etcconnect.com Copyright ETC. All Rights Reserved. All product information and specications subject to change. 4380L1001 Rev. F USA 01/2016

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Dell Inspiron 19.5" Touch Screen All In One Intel Pentium 4GB Memory 1TB Hard Drive Black Specifications Key Specs Hard Drive Capacity 1000 gigabytes Hard Drive Type Traditional, mechanical hard disk drives are the most common type of storage because they're relatively inexpens ive and offer huge capacities. However, they also generate both noise and heat. Solid state drives, also known as SSDs, are many times faster than hard disk drives and have no moving parts to wear out, but typically offer far less capacity. Other Operating System The operating system manages all software and hardware, including files, memory and connected devices. Most importantly, it lets you interact with your device and your programs in a visual way; otherwise, you'd be typing computer code to get anything done. Windows 10 Processor Speed The clock speed of the processor, measured in hertz (Hz), is defined as the number of operations the central processing unit (CPU) can carry out in a single second. Working in combination with system memory, the power of the processor determines the complexity of software you can run, how many

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programs you can have open at the same time, and how fast those programs will run. 1.6 gigahertz Processor Model Your computer's processor is like its brain. Working in combination with system memory, the power of the processor determines the complexity of software you can run, how many programs you can have open at the same time, and how fast those programs will run. Most computers feature an Intel or AMD processor. Intel Pentium System Memory (RAM) Random access memory, or RAM, is important because it helps your processor tackle multiple tasks at once. A minimum of 2GB is required for basic computing, but 6GB or more is recommended if you're into graphics and advanced photo or vi deo editing. 4 gigabytes Graphics Card Other Screen Resolution Higher resolution equals better picture quality. Screens come in a range of resolutions (measured in pixels, horizontal x vertical). The higher the resolution the greater the picture quality. 1600 x 900 (HD+) Screen Size 19.5 inches Touch Screen Touch screen devices make navigating more intuitive. Using a touch screen display, you can do things such as tap to select, hold and drag to move items, swipe to scroll, and pinch to zoom. Yes Warranty Parts 1 year Labor 1 year Memory Cache Memory Cache memory, also called CPU memory, is random access memory (RAM) that a computer microprocessor can access more quickly than it can access regular RAM. This memory is typically integrated directly with the CPU chip or placed on a separate chip that has a separate bus interconnect with the CPU. 2 megabytes Media Card Reader Media card reader is a hardware device that lets you rea d and write data on a memory card such as a multimedia card. Yes System Memory RAM Expandable To 8 gigabytes Type of Memory (RAM) Different types of RAM are available; some of the most common are DDR4, DDR3 and DDR2. Each type of RAM del ivers a different level of speed, bandwidth, energy efficiency and performance.

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DDR3L SDRAM Number Of Memory Slots 1 System Memor y RAM Speed How fast the information storing hardware operates. 1600 megahertz Certifications & Listings ENERGY STAR Certified Devices carrying the Energy Star service mark, such as computer products and peripherals, kitchen appliances, buildings and other products, generally use 20% to 30% less energy than required by federal standards. No EPEAT Qualified The Electronic Product Environmental Assessment Tool (EPEAT) was designed to provide an environmental assessment tool for purchasers. In order to qualif y for EPEAT, a product must meet all 23 required criteria. No Network Ethernet Ethernet; Fast Ethernet; Gigabit Ethernet Number Of Ethernet Ports 1 Wireless Networking This device can connect via Wi Fi to other devices without using cables or cords. Wireless N Graphics Graphics Type There are two types of graphics: dedicated/discrete graphics card and integrated graphics. A dedicated graphics ca rd has its own random access memory (RAM), its own cooling system, and dedicated power regulators, with all components designed specifically for processing video images. Integrated graphics is the video hardware that is integrated into the motherboard or t he CPU. In a PC with integrated graphics, the graphics processor shares system resources (like memory) with the CPU. Integrated Graphics Processing Unit/GPU Intel Internal Hard Drive RPM 5400 revolutions per minute Expansion Slots 2 Cooling System Air

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Included Included Software Microsoft Office (Trial) Operating System Architecture 64 bit Optical Drive Type An optical disk driv e (ODD) uses a laser light to read data from or write data to an optical disc. These discs include CDs, DVDs, and Blu ray Discs. This allows you to play music or watch movies using prerecorded discs. DVD RW Connectivity Number Of USB Port(s) 4 Port Type(s) USB 2.0 connects external drives, gaming controllers, smartphones, MP3 players and other accessories. USB 3.0 trans fers data faster than USB 2.0, but only when used with USB 3.0 devices. USB Type C provides fast speeds and versatile power, featuring connectors with identical ends that plug in upside down or right side up. Adapters allow for video as well as backward co mpatibility. Thunderbolt provides ultra high bandwidth for fast data transfer between devices featuring a Thunderbolt or MiniDisplayPort connection. HDMI allows you to connect a projector or display HD media on your HDTV or monitor. Media card slots allow you to transfer photos from your digital camera or camcorder. Ethernet, USB 2.0, USB 3.0, Headphone, Microphone Processor Processor Brand Intel Feature Bluetooth Enabled This device will connect to other Bluetooth enabled devices without the need for cables or cords. Many wireless printers, wireless speakers, wireless keyboards, wireless mice, wireless headphones, desktops, laptops tablets, and cell phones are Bluetooth enabled. Yes External Expansion Bays 1 Display Display Type Touchscreen Widescreen LED Video Resolution Refers to the number of pixels, both horizontally and vertically, used to capture/display the video. The higher the resolution the finer the video detail that can be seen. 1600 x 900

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General Color Black Color Category Black Model Number I3052 3000BLK Dimension Height 12.5 inches Width 18.9 inches Depth 1.3 inches Weight 7.4 pounds Other Product Name Inspiron 19.5" Touch Screen All In One Intel Pentium 4GB Memory 1TB Hard Drive Brand Dell UPC 884116219279

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8 APPENDIX J PUBLICITY DOCUMENTS

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Nadine McGuire Theatre + Dance Pavilion 1800 McCarty Drive, Bldg. 687 Gainesville, FL 32611 Jerry Dickey, Director presents Spring Awakening Book & Lyrics by Steven Sater Music by Duncan Sheik Based on the play by Frank Wedekind Direction/ Musical Direction Choreography Musical Staging ANTHONY LISA CLARSON TONY MATA OFFERLE Orchestrations Vocal Arrangements String Orchestrations DUNCAN SHEIK ANNMARIE MILAZZO SIMON HALE Scenic Designer Lighting Designer COLTON SPURLOCK TIANA ALDERSON Costume Designer Sound Designer SAMANTHA KENNEDY # ERIC LENASBUNT Movement Coordinator Stage Manager TIZA GARLAND MATTHEW FAUX Spring Awakening is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, 421 West 54 th Street, New York, NY 10019. Tel.: (212) 541 4684 Fax: (212) 397 4684 www.MTIShows.com Original Broadway Production Produced by IRA PITTELMAN, TOM HULCE, JEFFREY RICHARDS, JERRY FRANKEL, ATLANTIC THEATER COMPANY, Jeffrey Sine, Freddy DeMann, Max Cooper, Mort Swinsky/Cindy and Jay Gutterman/Joe McGinnis/Judith Ann Abrams, ZenDog Productions/CarJac Productions, Aron Bergson Productions/ Jennifer Manocherian/Ted Snowdon, Harold Thau/Terry Schnuck/Cold Spring Productions, Amanda Dubois/Elizabeth Eynon Wetherell, Jennifer Maloney/Tamara Tunie/Joe Cilibrasi/StyleFour Productions. SPRING AWAKENING Company by special arrangement with Tom Hulce & Ira Pittelman. School of Theatre + Dance Supporters continued Gifts up to $99 Edward J. Bielarski, Jr. & Melinda L. Bielarski Timothy J. Cannon & Kelly J. Cannon Ellen R. Gershow & Jim A. Gershow Erin L. Hauswirth & Bill W. Hauswirth Linda G. Kallman & Clayton H. Kallman Anthony J. Kolenic III Kevin R. Orr & Rhonda L. Orr Andy Andiric Timothy S. Brophy & Frances J. Brophy Bill G. Ebersole & Anna B. Ebersole David L. Evans Kathryn E. Funke & Michael B. Pellett Michael D. Gracy & Susan Gracy Adriane M. Isenberg William R. Kem & Carol Ritzen Kem Roslyn F. Levy & Norman S. Levy The Hon. Martha A. Lott Eileen M. Parris & James R. Parris Keith Perry Paul S. Rothstein Sadove Cosmetic Surgery LLC Angela J. Terrell & Frank J. Terrell Universal Orlando Foundation Wonderworks Haile Plantation Golf & Country Club Ocala National Golf Club Stone Creek Golf Club Adam S. Doner Palm Beach Zoo & Terry Maple Michael L. Jones Stephen D. Root Richard L. McNeill Linda C. Block Sandra F. Fackler David C. Hammer Miriam M. Kimball Leanetta McNealy Sarah G. Nave & Joe Nave Sally E. Ryden Eleanor R. Schmidt Elaine C. Spencer & Neal R. Spencer Sandra Gal Phoebe H. Bowers Tallulah W. Brown & Robert B. Brown, Jr. Ronald L. Bunker Luanne P. Cocco & Joseph M. Cocco Grayhills Dental of Wellington Great Outdoors Restaurant il Bellagio Restaurant Maria G. Martin Paramount Grill Rad Adventures, Inc. & Ronald DeFilippo Jane Salimbene & George B. Salimbene Michael D. Shine St. Augustine Distillery/Michael K. Diaz Elan Hair Salon Double Tree By Hilton Hotel Saint Augustine Wild Reserve Hippdrome State Theatre, Inc. Maple Street Biscuit Company Betsy B. Beers & Thomas R. Beers Bonnie F. Ogle Heather S. Phalin Shane C. Van Deree Mihai A. Ciupe Kanapaha Botanical Gardens Paddiwhack Victory Cruise Casino Barbara M. Williams & Michael S. Scott John A. Duff & Donna L. Duff Dane M. Phelan J. Andrew Howard Stan Kaye & Pamela Kaye Suzanne Leahy Michele L. Waters David M. Young & Elizabeth Adams Jacksonville Zoo and Gardens David Hoffman Hyatt Regency Orlando Medieval Times World Golf Village Renaissance Resort & Michele Kuziola Dragonfly Sushi & Sake Co. & Hirofumi P. Leung Fountain of Youth Properties, Inc. & John W. Fraser St. Augustine Alligator Farm, Inc. & Gen Anderson Friends of Theatre + Dance Members Denoted by Asterisk (*)

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School of Theatre + Dance Supporters $5,000 + SP Medical Legal Consultants, Inc. $1,000 $2,500 Gator Moving & Storage Co. William R. Leonard & Melanie R. Leonard Charles H. Denny III Charitable Trust Steven Pliskow & Blanca Luaces J. H. Londono & Nohra Londono Meredyth Anne Dasburg Foundation Mary G. Feiber Leslie R. Klein & Paul A. Klein Brenda V. Robinson & Russell L. Robinson $250 $999 Gainesville Dermatology Aesthetic Center Janice Pliskow Colleen S. W. Rand & Kenneth H. Rand Whitney A. Metevia & Chad Metevia South Seas Plantation Azra Bihorac & Charles Hobson McGurn Investment Co. Chris M. Morris Lynn W. Lefebvre & Paul W. Lefebvre Joshua S. Ackerman Starlina Bradbury & Mitchell Jim Dance Alive! Laurel J. Freeman Mary Stuart Mank & R. Layton Mank George E. Womack & Karin Kurowski de Womack $100 $249 Robert Lee Bowman & Dell M. Bowman Robert S. Taylor, Sr. Tim C. Altmeyer Lucinda S. Lavelli & Kenneth D. Webster Donald E. McGlothlin & Jane McGlothlin Brenna C. Rizzardi James S. Theriac III & Sharon L. Theriac Stewart B. White Ewing Optical Hammock Beach Resort & Jason Kern Mike C. Hastings & Marty Hylton III Ilene Silverman Budd & Harvey M. Budd Bob N. Singer & Beverly T. Singer Natasha Tomlinson Lester B. Cuddington, Jr. Rachael I. Channing Garden Gate Nursery Carol M. Fonda Mikell L. Pinkney & Hely Perez Alvarado Jerry R. Dickey & Deborah J. Bleckley Robert J. Blood & Barbara W. Blood Sara L. McCrea & Charles P. Gibbs Rebecca M. Nagy & Paul D. Nagy Sue B. Lowry & Henry L. Tosi Eric Money Henry Palmer Orlando Magic Youth Foundation Craig M. Goldenfarb & Colleen L. Goldenfarb Karelisa V. Hartigan & Kevin M. McCarthy Rachael L. Jones Mark E. Law & Alison Law Lightner Museum Lauranne C. McCraw Jennifer M. McInnes Coolidge Lee Nelson Robert Nightingale & Kathy Nightingale Raindancer Steakhouse John W. Reger Michael E. Robinson & Kathryn D. Robinson Lauren N. Richardson & Barry P. Richardson Ronald G. Zollars & Patti D. Zollars Jose R. Zozaya & Maitane Alava Friends of Theatre + Dance Members Denoted by Asterisk (*) Please turn off all cellular devices. Food and drink are not permitted in the Constans Theatre. The videotaping or other video or audio recording of this production is strictly prohibited. Spring Awakening will be presented with a 10 minute intermission. Cast (In order of appearance) WENDLA Emily Lewis MARTHA Valerie Torres Rosario THEA Brittany Bennett ANNA Cali Newman ILSE Lauren Robinson KRYSTA Lauren Crandall JEN Cassidy Egidi ROBI Shannon Holder MELCHIOR Chaz May MORITZ Thomas Nightingale HANSCHEN Sergio De La Espriella ERNST Joshua Andrews GEORG Jeremy Mangal OTTO Tony Lupi RUPERT Richard Rosario REINHOLD Wildlin Pierrevil DIETER Tyler Peterson ULBREICHT Stephen Peters GERARD William Petri ADULT MALE Jeff Drushal ADULT FEMALE Amanda Hayter ENSEMBLE ^ Crissie Auguste, Ashley Vogt, Lindsay Wright ^This is an Ensemble show. All roles are also part of the Ensemble. Understudies Understudies never substitute without an announcement prior to the performance. For Wendla Cassidy Egidi, For Martha Lauren Crandall; For Ilse Shannon Holder; For Melchior William Petri; For Moritz Wildlin Pierrevil; For Hanschen Richard Rosado Denotes MFA Project in Lieu of Thesis # Denotes BFA Senior Project

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Musical Numbers Act I Mama Who Bore Me Mama Who Bore Me (Reprise) The Bitch of Living My Junk Touch Me The Word of Your Body The Dark I Know Well And Then There Were None The Mirror Blue Night I Believe Act II The Guilty Ones Left Behind Totally Fucked The Word of Your Body Whispering The Song of Purple Summer University of Florida C OLLEGE OF THE A RTS Lucinda Lavelli Dean Dr. Edward Schaefer Associate Dean Dr. Anthony Kolenic Assistant Dean S CHOOL OF T HEATRE + D ANCE F ACULTY Dr. Jerry Dickey Director Tiza Garland Associate Director / Movement/Combat / Performance Area Coordinator Tim Altmeyer Performance Kevin Austin Undergraduate Advisor Dr. Rusti Brandman Professor Emerita Melissa Brenner Adjunct / Dance Yanci Bukovec Performance Mihai Ciupe Scene Design Mohamed DaCosta African Dance Meredith Farnum Lecturer / Dance Dr. Joan Frosch Dance / Center for World Arts Stacey Galloway Costume Tech / Design/Production Area Coordinator Isa Garcia Rose Lecturer / Dance Jenny E. Goelz Production Manager Zak Herring Technical Director Stan Kaye Lighting Design Jenny Lee Affiliate Lecturer / Center for Arts in Medicine Kevin Marshall Performance / Arts and Public Policy Tony Mata Musical Theatre Dr. Charlie Mitchell Performance Melissa Montilla Adjunct / Dance Matt Morgan Visiting / Musical Theatre Voice Dr. Mikell Pinkney Theory / Performance Emily Pozek Adjunct / Dance Dr. Ralf Remshardt History / Dramaturgy / Performance Ric Rose Dance Area Coordinator Kathy Sarra Adjunct Assistant Professor / Alexander Technique Dr. David Shelton Professor Emeritus Jill Sonke Affiliate Lecturer / Center for Arts in Medicine Steven Stines Costume Design Dr. Albert F.C. Wehlburg Professor Emeritus Dr. Judith Williams Performance Trent D. Williams, Jr. Dance Dr. David Young Professor Emeritus / Directing S TAFF Todd Bedell Master Electrician Tony Berry Master Carpenter Tracy Floyd Costume Shop Manager Austin Gresham Assistant Production Manager / Company Manager Jeni Higgins Assistant to the Director Chris Kozak Asst. Production Manager / House Manager / Publicity Caitlin Nagy Receptionist Manuel Pelegrina Master Carpenter

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Orchestra Conductor ANTHONY OFFERLE Violin LIANA GRANTGES Viola MAURYA DICKERSON Cello BRANDON CAROON Guitar 1 CHRISTIAN SHAW Guitar 2 ERIK ABERNATHY Piano/Harmonium BRIAN HARGROVE Bass SARAH KLEIN Drums DAVID HAVENS

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I want to divide people into two groups: one of them has since time immemorial subscribed to the motto: "Flesh is flesh and it is opposed to the Spirit!" The second group subscribes to the motto: "Flesh has its own Spirit!" Young people don't grow up congenitally stupid and congenitally blind. But it is an insane crime to systematically teach young people stupidity and blindness in matters of sex, to systematically deceive them. This crime has been committed in our schools and our homes for the last one hundred years. And why is this crime committed? Out of fear fear that serious conversations about love and sex could damage our youth. The family is an alliance which, out of the naked fear that it could fail, does not permit itself to talk about the dangers that face it until it has failed. Frank Wedekind, 1887 Spring Awakening first debuted as a play by German playwright Frank Wedekind, subtitled It was so cutting edge when it was written (1890 until the end of 1906, and its gloves off treatment of adolescent sexuality has made readers, audiences, and censors uncomfortable ever since. Re imagined as a rock musical in 2006 by Duncan Sheik (music) and Stephen Sater (book), Spring Awakening opened Off Broadway and was such a huge hit that it was transferred to a Broadway theatre within months. It won 8 Tony Awards, including Best Musical, ran for more than 2 years, and was revived on Broadway in 2015. Spring Awakening the musical probably owes its enduring popularity to its shocking play. Throughout the show, the music serves as the outcry of its adolescent protagonists, their only means of escape, of letting us know what they are truly feeling; always among themselves, since the adults in their lives are never fully emotionally available to them. The show contrasts the yearning of their kindling sexuality with its repression by adults whose sanctimonious attitude toward their children is compounded of pious religious beliefs, fear of the power of the sexual drive to defy social strictures, structures and prejudices, and fear of negative public opinion. The message of the musical is all about fear on all levels and how it causes miscommunication between parents and kids, resulting in a lack of honest, courageous guidance that has dire consequences. Today, though we do live in a society that is more open when it comes to discussing human sexuality, there are plenty of parents and children who much room for embarrassed or censorious silences that can mislead adolescents into confusion, repression, and even levels of self hatred and I hope this evening will encourage families from our community to be open to an honest dialogue about the human body and the challenges and risks we all face as we make our way through the changes and challenges of adolescence. Tony Mata Biographies WILLIAM PETRI (Gerard) William, a UF BFA MT freshman, has most recently played the role of Joseph in Joseph and the Amazing Technicolor Dreamcoat and as Mr. Cratchit in the professional production of A Christmas Carol at the Broward Center, Fort Lauderdale. He has also starred in productions of West Side Story Gypsy Oklahoma and Les Miserables WILDLIN PIERREVIL (Reinhold) Wildlin is a freshman at the University of Florida, making his debut as a BFA Musical Theatre student. He is excited to be joining such an amazing group of artists and performers here at UF under the direction of Mr. Tony Mata. Thank you. LAUREN ROBINSON (Ilse) Lauren is a junior in UF's BFA Musical Theatre program. Past credits include Christine in UF's production of Phantom of The Opera Musetta in UF's production of La Bohme as well as the ensembles of Sweeney Todd and The Drowsy Chaperone. Enjoy the show! RICHARD ROSADO (Rupert) Richard is a Junior BFA Musical Theatre student. Some of his most memorable roles include: Underling in The Drowsy Chaperone a soloist in Jacques Brel is Alive and Well and Living in Paris Harry Haubenstock in Letters to Sala and Sebastian in Twelfth Night He has also been seen in the Jacksonville community as a soloist in Hair and Surfer Ted in Eb Scrooge: A Southern Fried Christmas Carol He is immensely exultant to be a part of the cast for Spring Awakening and would like to thank his friends and family for all of their support. COLTON SPURLOCK (Scenic Designer) Colton is a second year MFA Scenic Designer from Marble Falls, Texas. His undergraduate studies were at Sam Houston State University in Huntsville, Texas, where he received a BFA in Theatre Scenic Design. The House of Atreus was his debut design at the University of Florida, shortly followed by Sketchy People this previous summer. Many thanks to all who helped out during the process. VALERIE TORRES ROSARIO (Martha) Valerie is a junior in the Musical Theatre program. She's excited to participate in her third show on UF's mainstage. Previous productions include In the Heights (Vanessa), The Drowsy Chaperone La Bohme and West Side Story (Maria). She'd like to extend her thanks to God, her family, and friends. ASHLEY VOGT (Ensemble) Ashley is a sophomore BFA Acting major at the University of Florida. This is her first SoTD production and she is excited to be working with such a phenomenally talented group of people. A big thanks to her sisters in Phi Mu and her parents for always giving their love and support. WILLIAM VONADA (Asst. Stage Manager) William Vonada is a sophomore BFA Acting student. While this is his first management role with the University of Florida, he was previously Assistant Stage Manager for Thank God for AIDS with Florida Players. Past UF acting credits include The Drowsy Chaperone (Ensemble), The House of Atreus (Male Chorus), and Puffs (Oliver). LINDSAY WRIGHT (Ensemble) Lindsay is excited to be performing in her first University production. She has done community theatre for seven years thank the cast and crew for their work, and her parents for being supportive. Hi, Mom!

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Two locations: 3729 West University Ave. (352) 375 4000 4401 NW 25th Pl., Suite E (352) 377 2000 Biographies CHAZ MAY (Melchior) Chaz is a senior Musical Theatre major and will be graduating this coming May. UF credits include: Tobias ( Sweeney Todd ), George ( The Drowsy Chaperone ), and Cedric/Mr. Voldy ( Puffs ). Regional credits include: Mark ( A Chorus Line ) and Seymour ( Little Shop of Horrors ). Chaz would like to thank Tony and Matt for their mentorship, his family and friends for their love and support, and the cast and crew for an amazing show! CALI NEWMAN (Anna) Cali is a second year BFA Musical Theatre student, and she is very excited to be performing her favorite musical! Previous credits at UF include The Drowsy Chaperone and In the Heights She would like to thank her parents for allowing her to live her dream! Enjoy. THOMAS NIGHTINGALE (Moritz) Thomas is a junior Musical Theatre student and is absolutely ecstatic to play the role of Moritz tonight. STEPHEN PETERS (Ulbreicht) Stephen is a freshman BFA Musical Theatre major at UF. Past favorites include Into The Woods West Side Story Beauty and The Beast and Les Miserables Many thanks to all involved on this production and to his teachers. TYLER PETERSON (Dieter) Thank you for supporting the arts! Tyler is a sophomore BFA Musical Theatre major. This is his second show with UF SoTD. Production Team Production Manager Jenny E. Goelz Assoc. Musical Director/Vocal Coach Matt Morgan Asst. Musical Director/Accompanist Brian Hargrove Music Assistant Macy Schmidt Asst. Stage Managers Julie Anne Christmas and William Vonada Vocal Captain Cali Newman Dance Captains Brittany Bennett and Stephen Peters Fight Captain William Vonada Technical Director Zak Herring Properties Manager Tony Berry Scenic Carpenter Manuel Pelegrina Scenic Graduate Assts. Tim Castell, Colton Spurlock, Carl Sage, William Yanni Scenic Studio Assts. Students of THE 4950 Run Crew Sydnie Battie, Kyle Christensen, Sasha Cifuentes, Dan Gray, Rebekah Lampkin, Maria Valdiva, An Vuong, Stephanie Watson Master Electrician Todd Bedell Assoc. Lighting Designer/Programmer Dalton Hamilton Asst. Lighting Designer Joseph Hodge Lighting Graduate Assts. Tiana Alderson, Josh Azoulay, Joseph Hodge, Andrew Leslie, Duncan Singleton Light Board Operators A.J. Britton and Asia Zaffere Follow Spot Designer Duncan Singleton Spot Light Operators Victoria Denis and Noah Ponte Sound Board Operator Anna Bommarito Costume Shop Manager Tracy Floyd Costume Graduate Assts. Coral Bowron, Amanda Moore, Amanda Resch, Lauren Smith Costume Studio Assts. Students of THE 4950 Wardrobe Head Rebekah Clow Dressers Kelvy Alter, Steven Breiter, Marissa Coloney, Jordan Danel, Alexandria Davis, Sara Girard, Andrew Iglesias, Claudia Reyes, Riley Shea, Michelle Tapia, Juliana Toyloy Stanton, Natalia Urzua Asst. Production Mgr./House Mgmt. Chris Kozak College of the Arts Graphic Designer Holly Franklin Photographers T.F. Guntrup Suzanna Mars House Management Students of THE 4950 Program Layout Design Jeni Higgins and Caitlin Nagy

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Biographies STEVEN SATER (Book and Lyrics). Steven Sater was awarded the 2007 Tony Awards for Best Book of a Musical and Best Original Score for Spring Awakening along with the Drama Desk and Outer Critic Circle Awards for Best Lyrics. With alt rocker Duncan Sheik, he received the 2007 Grammy Award for Best Musical Show Album for Spring Awakening In addition, the two received The Dramatists Guild Hull Warriner Award, the Outer Critics and Drama League Awards for Best Musical. Steven is the author of numerous plays, including the long running Carbondale Dreams, Perfect for You, Doll (the Rosenthal Prize, Cincinnati Playhouse); Umbrage (Steppenwolf New Play Prize); A Footnote to the Iliad (New York Stage and Film, The Miniature Theatre of Chester); Asylum (Naked Angels); Murder at the Gates (commissioned by Eye of the Storm); In Search of Lost Wings (Sanford Tempest with toured throughout Great Britian. In addition to Spring Awakening, Sater has collaborated with Sheik on the NY premiere of Umbrage (HERE), Nero (The Magic Theatre, workshopped at the New York Shakespeare Festival and New York Stage & Film), and The Nightingale Theatre Conference, La Jolla Playhouse, A.C.T., and New York Theater a musical version of Prometheus Bound to be directed by Diane Poulus at acclaimed album Phantom Moon (Nonesuch), and together the two wrote the A Home at the End of the World (Warner Classics) as well as the independent features and The Cake Eaters Sater is also co creator and executive producer, with Paul Reiser, of recent pilots for both NBC and Sony/FX, and has developed two projects for HBO, and another for Showtime (with Reiser). He is also at work, with Jessie Nelson, on a feature film and is creating an original movie musical for producer Larry Mark. In addition, Steven works as a lyricist with various composers in the pop/rock world recently writing songs with Burt Bacharach, Johnny Mandel, Andreas Carlsson, and William Joseph. Tony Offerle Matt Morgan Tiza Garland Kathy Sarra Carol Pendergrast Ralf Remshardt Caron Cadle The School of Music Linda Wilson Shelley Waters Joe Glover Elizabeth Bedell FSU Costume Shop WGFL CBS4/WNBW NBC9 Mike Billings/Bay State Theatre Special Thanks Biographies MATTHEW FAUX ( Stage Manager ). Matthew is a BA Theatre major, focusing on Stage Management. Previous UF credits: The House of Atreus GCP Credits: Les Mis Next to Normal Mary Poppins to name a few. Thanks to Mom, Dad, & Bryan for their constant support, the amazing ASM Team Will and Julie as well as Jenny and Chris who guided me through this process of stage management and creating our art of calling the show. AMANDA HAYTER ( Adult Female ). Amanda is a second year MFA Acting student, and this is her fourth production here at UF. Previous credits include: Sketchy People (Amanda), The House of Atreus (Chorus), The Golden Dragon (Foley artist), Godspell (Gilmer), (Honey), The Tempest (Stephano), The Comedy of Errors (Balthazar/ Courtesan), and Three Sisters (Natasha). SHANNON HOLDER ( Robi ). Shannon Holder is a sophomore BFA Musical Theatre student in the School of Theatre and Dance. She is very excited to participate in this production of Spring Awakening Recent shows include The Drowsy Chaperone (Kitty); In the Heights (Daniela); Into the Woods (the Witch). SAMANTHA KENNEDY ( Costume Designer ). Sam is a fourth year Costume Dance 2016 she is absolutely thrilled to make her debut in the Constans Theatre. Sam would like to thank her parents and SoTD faculty for supporting her throughout her journey here at UF! ERIC LENASBUNT ( Sound Designer ). Eric is an Audio Engineer, Designer and Operations Manager for Bunt Backline Event Services, based in Gainesville, FL. This is Eric's fourth Musical with UF. Eric also is an accomplished System Designer and Audio Engineer throughout the region for Houses of Worship and Theaters. He is thrilled to be working with UF SoTD. EMILY LEWIS (Wendla) Emily is a BFA Musical Theatre senior. Previous SoTD credits include The Drowsy Chaperone (Mrs. Tottendale), The Liar (Lucrece), and Sweeney Todd (Beggar Woman). She would like to thank Matt Morgan, Tony Mata, Tim Altmeyer, The Travaglinos, her family, and her fellow musical theatre majors for helping her become a better performer and person. TONY LUPI (Otto) Spring Awakening is Tony's final show at the University of Florida before he graduates in December. Tony has also appeared as Pirelli in Sweeney Todd Piangi in The Phantom of the Opera and Adolpho in The Drowsy Chaperone He would like to show his love and appreciation for his fellow seniors, Emily Lewis and Chaz May. He will miss them very much, and hopes to see them both on Broadway. Tony can never thank his parents and little brother enough for all the love and support they have given him. They have always supported his choice to pursue theatre, and he wouldn't be here if it weren't for their support. He would also like to thank Tony Mata and Matt Morgan for all they've done to help him become a stronger actor, singer, and dancer. The Musical Theatre program will always hold a special place in his heart. JEREMY MANGAL (Georg) Jeremy is a junior Musical Theatre major. He is proud to be a part of the University of Florida's Spring Awakening and looks forward to many more productions at UF's establishment. Go Gators!

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Biographies TIANA ALDERSON (Lighting Designer) Tiana is a third year MFA Lighting Design student. She is honored to have had the opportunity to collaborate on Spring Awakening as her thesis project and final design at UF Her final year has been unlike anything she could have imagined, and she would like to thank her lighting team, fellow MFAs, and Squad for their continual understanding and support. She also needs to say a special thank you to Daniel Cruz for reminding her what it means to let go and just live. JOSHUA ANDREWS (Ernst) Joshua is incredibly humbled to be a part of such a wonderful cast and crew! Josh is a transfer student from Jacksonville, where he majored in Theatre at the Florida State College at Jacksonville. He'd like to thank his close friends and family for their perennial love and support. CRISSIE AUGUSTE (Ensemble) Crissie is a fourth year BFA Acting major and is thrilled to be in her first SoTD musical! Previous credits include: Oklahoma! at the Gainesville Community Playhouse; The House of Atreus at UF; and Gator Tales both at UF and the Edinburgh Festival Fringe in Scotland. Enjoy the show! BRITTANY BENNETT (Thea) Brittany, a junior BFA Musical Theatre major, is thrilled to be a part of one of her favorite musicals. Recently, she was seen in In The Heights, The Drowsy Chaperone, Sweeney Todd and Gator Tales which she performed at the Edinburgh International Festival FRINGE, to name a few. Much love to her family, friends, and Chris for their unyielding support. JULIE ANNE CHRISTMAS (Asst. Stage Manager) is a second year double major in Theatre and Business Administration. She has previously stage managed for Florida Player's production of The Completed Works of Shakespeare: Abridged This is her first production with the school and would like to thank God and her amazing parents for supporting her passion of the arts! LAUREN CRANDALL (Krysta) Lauren Crandall is a freshman BFA Musical Theatre major. She was last seen as Nina in In The Heights at the Pinellas County Center for the Arts. She would like to thank her professors for this opportunity, and her family for their love. SERGIO DE LA ESPRIELLA (Hanschen) Sergio is a junior in the Musical Theatre program here at UF. Previous credits include In the Heights (Usnavi) and The Drowsy Chaperone (Gangster #1). He would like to thank his family, friends, and girlfriend. JEFF DRUSHAL ( Adult Male ). UF SoTD: The House of Atreus The Drowsy Chaperone, Spill Sketchy People National Tours: Mamma Mia! (Sam), 1776 (Jefferson), My Fair Lady Favorite Regional: Carousel (Billy), Macbeth (MacDuff), Camelot (Lancelot), Oklahoma! (Curly), Jesus Christ Superstar (Judas), The Trojan Women (Poseidon), Pirates of Penzance (Everybody at one time or another), Man of La Mancha #hagadaga CASSIDY EGIDI ( Jen ). Cassidy, originally from Rochester, New York, is a Freshman in the BFA Musical Theatre program at the University of Florida. She most recently portrayed the Leading Player in Pippin through Victor High School. She would like to thank her very talented professors and send much love to her family. Biographies DUNCAN SHEIK (Music). In addition to writing the music for Spring Awakening theater credits include: Nero (Another Golden Rome) (currently in development), The Nightingale (currently in development), Whisper House (currently in development). Recorded works include: Whisper House (Sony/ Victor 2009), White Limousine (Rounder 2006), Daylight (Atlantic Records 2002), Phantom Moon (Nonesuch 2001), Humming (Atlantic Records 1998), Duncan Sheik 1996). Film Scores include: DARE (2009), Little Spirit: Christmas in New York (2008), Capers (2007) and The Cake Eaters (2007). Producer Credits include: Holly Brook (forthcoming CD 2009), Micah Green (2008), Spring Awakening Original Cast Album (Universal 2007) and Chris Garneau (2006). ANNMARIE MILOZZO (Vocal Arrangements). Composer/lyricist: Pretty Dead Girl Sundance Film Festival. Vocal arranger: Broadway productions of Spring Awakening and Next to Normal Bright Lights, Big City at the New York Theater Workshop, and the Paramount feature film, The Marc Pease Experience. AnnMarie is a Grammy nominated singer from The East Village Opera Company on Universal/Decca. SIMON HALE (String Orchestrations). After graduating from the University of album, East Fifteen, led to recordings with many artists, including George Benson, Simply Red, Jamiroquai and Bjo?rk. In 1996 he orchestrated Duncan Spring Awakening marked his Broadway debut and the Tony Award for Best Orchestrations in 2007. He continues to work with Steven Sater and Duncan Sheik on other projects. For more information please visit www.simonhale.co.uk.

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Biographies TONY MATA ( Director ). Professor Mata is the head of Musical Theatre at the University of Florida, and serves as an affiliate faculty member for the Center for Latin American Studies. He is a multi award winning director and holds an MFA in Musical Theatre from San Diego State University. Mr. Mata has directed, choreographed, and performed in over 300 plays, musicals, operas, and cabarets in New York, Off Broadway, and in regional theatre. His regional credits include The Kennedy Center, the Old Globe Theatre, Theatre Under the Stars, Stages Repertory, San Diego Opera, The Houston and San Diego Gilbert and Sullivan Companies, and The Lambs Players. In New York, he has worked with the renowned Circle Repertory Theatre, The Puerto Rican Traveling Theatre, The Lincoln Center Summer Festival, New Dramatists, Riverside Shakespeare, INTAR, and the Obie Award winning Repertorio Espaol. He is a and Choreographers, and the American Guild of Musical Artists. Internationally, Mr. Mata has worked in the United Kingdom, Italy, Canada, Mexico, Grand Cayman, and The Dominican Republic. He directed the musical Baby at the Edinburgh Festival Fringe in Scotland and also directed a new production of The Magic Flute with the Operafestival di Roma. He has taught, and been a guest artist, at such prestigious universities as Columbia University, the University of Windsor in Canada, and Cambridge University in the UK. He has worked with such notable names as Julie Harris, Brian Colleen Dewhurst, Zoe Caldwell, Chita Rivera, and the legendary Stephen Sondheim while in graduate school at SDSU and working at the Old Globe Theatre in California. He was recently announced as a Fellow of the College of Fellows of the American Theatre. The investiture ceremony will be held at the John F. Kennedy for the Performing Arts in Washington, D.C. in April 2017. Investiture in the College is one of the highest honors bestowed on educators and professionals of America's educational and theatre community. www.tonymata.com ANTHONY OFFERLE ( Musical Director/Conductor ). Dr. Offerle is an Associate Professor of Voice and Director of Opera at the University of Florida College of the Arts School of Music. Spring Awakening marks his 26th major collaborative production with the talented students and faculty of the School of Theatre and Dance. Previous musical stage works include: The Drowsy Chaperone, The Phantom of the Opera, Guys and Dolls The Magic Flute, City Of Angels, The Rocky Horror Show, West Side Story La Traviata The Mikado and Anything Goes A native of Miami, Florida, OperaEstate in Rome, Cincinnati Opera, International Chamber Orchestra, Dayton Opera, Wyoming Opera, Charleston Symphony, Savannah Symphony, and the Spoleto Festival. He has sung more than 30 leading roles, including title roles in Don Giovanni and Don Pasquale Papageno in The Magic Flute and Bartolo in both Il barbiere di Siviglia and Le nozze di Figaro Equally at home with musical theatre repertoire, he has performed the roles of the Major General in The Pirates of Penzance Sir Despard Murgatroyd in Ruddigore Riff in West Side Story, and Curly in Oklahoma Offerle is a two time Metropolitan Opera auditions district winner and regional finalist, a national winner of the Federation of Music Clubs vocal competition, and one of only Biographies ten Americans selected to compete in the quadrennial Marian Anderson International Vocal Competition. Dr. Offerle is a member of the National Association of Teachers of Singing and the outgoing Governor for Florida NATS. Dr. Offerle is the Artistic Director of the award winning summer program in Italy, the Operafestival di Roma Tony would like to thank this amazing cast and orchestra as well as his friends and colleagues: Brian Hargrove, Tony Mata, Matt Morgan, and Scott Wilson for their support and dedication in bringing this wonderful show to life. In bocca al lupo! MATT MORGAN (Assoc. Musical Director/Vocal Coach) Mr. Morgan is rapidly establishing himself as one of the most in demand young musical and vocal directors in the country. His repertoire spans works of the golden age of Musical Theatre to modern rock musicals. He serves on the faculty of the University of Florida as Visiting Assistant Professor of Musical Theatre Voice, as well as guest instructor and master class presenter for Command Performance Broadway Intensive, Apex Musical Theatre intensive, and Summer Musical Theatre Experience. He is also resident music supervisor for Players by the Sea. His students perform in national tours and regional theaters throughout the United States. As a tenor, Mr. Morgan is widely regarded as one of the most important performers in English language and Cross Over repertoire in the United States. He has performed many times with New York City Opera, most notably as Frederic in their hit production of Pirates of Penzance He has performed as the tenor soloist frequently at Avery Fisher Hall, Alice Tully Mid West premiere of a new production of the Grammy Award winning Elmer Gantry with the Florentine Opera. He has been featured in 3 PBS television specials ( Matt Morgan in Concert Opera Louisianne and Opera Masters worldwide. For further information, please visit www.MattMorganTenor.com. LISA CLARSON ( Choreographer ). A veteran of show business, Lisa landed the role of Gymnasia in A Funny Thing Happened on the Way to the Forum with Phil Silvers on Broadway on her first trip to New York at 19. She also appeared in the National and 1 st National tours of A Chorus Line as Cassie, Sheila, and Judy with Michael Bennett. Lisa holds a BFA in theatre, magna cum laude from Jacksonville University and was a lead dancer and choreographer in Las Vegas for 30 years. Lisa is thrilled to be with this talented cast; thanks to Tony, Matt, and Jerry for this opportunity.

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9 APPENDIX K ADDITIONAL PAPERWORK

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SPOT OP 2 SPOT OP 1 'A' BELTPACK CUE LTS GOD MIC A/B BASE STATION STAGE MANAGER IR VIDEO FEED GIO LX BOARD OP 'A' BELTPACK LX CUE LIST THE SPOT OP THE SPOT OP 'A' BELTPACK WINDOW WINDOW WINDOW WINDOW SPRING AWAKENING FOH BOOTH LAYOUT VERSION 1 10/04/2016 DRAWN BY DBH !"#$%&'%&()*"+,#-$.%/-0*!"&).%/ !"#$%&'%&()*"+,#-$.%/-0*!"&).%/

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LD ASSOC LD PROGRAMMER AST LD 1 ION GIO ION MONITOR 1 ION MONITOR 2 DHLD EOS CLIENT GIO MONITOR 3 GIO MONITOR 1 GIO MONITOR 2 NOMAD CLIENT 1 'A' BELTPACK 'A' BELTPACK 'A' BELTPACK 'A' BELTPACK CUE LTS GOD MIC A/B BASE STATION STAGE MANAGER ASSOC LD LAPTOP LIGHTING DESIGNER LAPTOP IR VIDEO FEED DHLD EOS CLIENT LAPTOP NOMAD CLIENT 2 AST LD 1 LAPTOP AST LD 2 'A' BELTPACK AST LD 2 LAPTOP NOT SHOWN IN ACTUAL LOCATION LX NETWORK SWITCH TO LX NET 2 PORT NET 3 GATEWAY FROM LX NET FOH CATWALKS TO FOH ML'S 4 PORT NET 3 GATEWAY FROM LX NET PINRAIL SL TO OVERSTAGE ML'S 2 PORT NET 3 GATEWAY TO LX NET FOH BOOTH FROM FOLLOWSPOT CONTROLS PROD MANAGER 'A' BELTPACK PROD MANAGER LAPTOP GIO CONSOLE PRIMARY IP ADDRESS LAYOUT FOH CATWALK GATEWAY PINRAIL GATEWAY FOLLOWSPOT GATEWAY ION CONSOLE CLIENT 1 DHLD NOMAD CLIENT 2 10 .101 .50 .101 10 .101 .50 .102 10 .101 .50 .103 10 .101 .50 .104 10 .101 .50 .105 10 .101 .50 .106 DHLD NOMAD CLIENT 3 10 .101 .50 .107 SPRING AWAKENING TECH TABLE LAYOUT & NETWORK RISER VERSION 1 09/192016 DRAWN BY DBH VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

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0 BIOGRAPHICAL SKETCH Tiana Alderson was born in Ventura County, located in Southern California. Tiana grew up around the creative arts and, after graduating from high school, decided to pursue an education in theatre. She first attended a small, private college in Jackson, Mississippi, called Belhaven College, where she majored in theatre and history. After two years, she transferred Biola University located in La Mirada, California. There, she graduated in 2010 with her Bachelors Degree in Humanities with an emphasis in Philosophy. After graduation, she immediately turned her attentions back to her first love, theatre. She spent the next several years continuing her education in theatre specifically in the area of lighting design. During this time, she was privileged to be given a number of opportunities to assist and design several shows in the Southern California area. Knowing she wanted to have a professional career in theatrical lighting design, she went back to school to receive a Masters of Fine Arts Degree in Theatrical Lighting Design. She attended the University of Florida and, while there, had the opportunity of collaborating on several production, teaching undergraduate courses, and serving as an assistant lighting designer at the Asolo Repertory Theatre.

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0 Tiana Alderson Photo Credit: Tim Castell


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