Why This Matters
As a stage manager, you're the communication hub between the lighting designer's vision and the execution of every cue. Understanding lighting equipment isn't just about knowing what things are called—it's about understanding why a designer chooses an ERS over a Fresnel, what information you need to relay during tech, and how to troubleshoot when something isn't working. You'll be tested on your ability to identify fixtures by their beam qualities, understand control systems, and recognize the safety protocols that keep everyone protected.
The equipment in this guide breaks down into clear categories: beam-shaping fixtures, control infrastructure, and modification accessories. When you encounter a lighting question, don't just recall the fixture name—think about what quality of light it produces and where in the system it fits. That conceptual understanding will serve you in technical rehearsals, production meetings, and on any exam.
Beam-Shaping Fixtures: The Light Sources
These are the instruments that actually produce light on stage. Each fixture type creates a distinct beam quality—from razor-sharp edges to soft washes—and understanding these differences helps you communicate effectively with your lighting team.
Ellipsoidal Reflector Spotlight (ERS)
- Produces a sharp, precisely controllable beam—the workhorse of theatrical lighting, also called a Leko or Source Four
- Accepts gobos and shutters for pattern projection and exact beam shaping, making it ideal for specific area isolation
- Primary use is front-of-house and side lighting where defined edges prevent light spill onto scenery or audience
Fresnel Spotlight
- Creates a soft-edged, diffused beam—named for its stepped lens design that produces even, blendable light
- Adjustable spot-to-flood range allows quick changes from narrow to wide coverage without swapping lenses
- Ideal for backlight and top wash where soft shadows and smooth blending between fixtures matter most
PAR Can (Parabolic Aluminized Reflector)
- Delivers a punchy, intense beam with an oval-shaped field that rotates based on lamp orientation
- Fixed beam angle per lamp type—you change the spread by swapping the lamp, not adjusting the fixture
- Durable and fast to deploy, making it popular for concert touring and productions with quick load-ins
Compare: ERS vs. Fresnel—both are focusable spotlights, but ERS gives you hard edges and pattern capability while Fresnel gives you soft, blendable washes. If asked which fixture isolates an actor without spill, choose ERS; for general stage wash, choose Fresnel.
Moving Lights/Intelligent Fixtures
- Motorized pan, tilt, color, and gobo changes—all controllable remotely via DMX for dynamic, programmable effects
- Eliminates manual refocusing between cues, reducing crew needs and enabling complex looks impossible with conventional fixtures
- Higher cost and complexity means more programming time; stage managers should build adequate tech time into schedules
LED Fixtures
- Built-in color mixing eliminates gel changes—RGB, RGBA, or RGBW arrays create virtually any color on demand
- Minimal heat output and low power draw make them safer for prolonged use near performers and scenery
- Long lamp life reduces maintenance, though color rendering differs from incandescent sources (important for costume and scenic matching)
Followspot
- Manually operated to track performers—requires a dedicated operator with clear sightlines to the stage
- High-intensity output with iris, color, and douser controls for real-time adjustments during performance
- Critical coordination with stage management—operators need cue sheets specifying pickup points, colors, and intensity levels
Compare: Moving lights vs. Followspots—both can track performers, but moving lights are programmed in advance while followspots respond in real-time to unpredictable movement. Productions with improvised blocking often need followspots; tightly choreographed shows can rely on movers.
Control Infrastructure: The Nervous System
These components form the communication and power network that lets a single operator control dozens of fixtures. Understanding this chain—from console to dimmer to fixture—helps you troubleshoot when lights don't respond as expected.
Lighting Console
- The command center for all lighting cues—stores programmed looks, timing, and sequences for playback during performance
- Outputs DMX signals to dimmers and fixtures; modern consoles can control hundreds of channels simultaneously
- Stage managers call cues; board operators execute them—clear communication protocols between both positions are essential
Dimmer Rack
- Controls intensity of conventional fixtures by regulating electrical current—the physical muscle behind fade times
- Houses multiple dimmer modules that correspond to individual circuits; a 48-channel rack controls 48 separate lighting circuits
- Located in dedicated electrical spaces—know where yours is for troubleshooting, but never adjust without qualified personnel
DMX Cable
- Industry-standard digital control signal—carries 512 channels per universe, allowing complex multi-fixture programming
- 5-pin XLR connector is professional standard; 3-pin exists but offers less interference protection
- Daisy-chains from fixture to fixture—a break anywhere in the chain affects all downstream instruments
Compare: Dimmer rack vs. DMX cable—dimmers control power (intensity), while DMX carries control data (instructions). A light that won't dim might have a dimmer problem; a light that won't respond to any commands likely has a DMX issue.
Beam Modification: Shaping and Coloring Light
These accessories attach to fixtures to alter the light's color, pattern, or spread. They're relatively inexpensive but dramatically expand what each fixture can do.
Color Gels/Filters
- Transparent colored plastic placed in front of the lens—subtracts wavelengths to create colored light
- Designated by manufacturer number (e.g., R02, L201)—always reference by number, not name, for accuracy
- Fades and burns over time with heat exposure; stage managers should track gel inventory for long runs
Gobo
- Metal or glass template inserted into an ERS to project patterns—windows, foliage, abstract textures, or custom logos
- Requires an ellipsoidal fixture with a gobo slot; Fresnels and PARs cannot project gobos
- Glass gobos allow multi-color images; metal gobos are more durable but limited to silhouettes
Barn Doors
- Four adjustable metal flaps that attach to Fresnels and PARs to shape the beam's outer edges
- Controls spill rather than creating hard edges—for precise cutoffs, you need an ERS with shutters
- Quick field adjustment without tools; useful for blocking light from specific scenic elements or audience sightlines
Compare: Gobos vs. Barn doors—both shape light, but gobos project patterns within the beam while barn doors control the beam's outer boundaries. Gobos add visual content; barn doors subtract unwanted spill.
Rigging and Safety: Keeping It All Secure
Every fixture hanging overhead represents a potential hazard. These components ensure equipment stays where it belongs and that your team goes home safely.
C-Clamp
- Standard mounting hardware that secures fixtures to pipes and trusses via a bolt-tightened grip
- Must be fully tightened with a wrench—hand-tight is never acceptable for overhead equipment
- Weight ratings vary—always verify the clamp rating matches or exceeds the fixture weight
Safety Cable
- Secondary attachment that catches a fixture if the primary mount fails—required for all overhead equipment
- Loops through the fixture's yoke and around the pipe, independent of the C-clamp
- Not a substitute for proper mounting—it's a backup, not a primary support
Lighting Boom/Stand
- Vertical pipe on a weighted base for floor-mounted side light positions
- Requires proper ballast weight to prevent tipping—follow manufacturer specifications exactly
- Cable management is critical—unsecured cables create trip hazards and can pull fixtures off balance
Compare: C-clamp vs. Safety cable—C-clamp is the primary mount that holds the fixture in position; safety cable is the backup that prevents falling if the clamp fails. Both are required; neither replaces the other.
Quick Reference Table
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| Hard-edged beam control | ERS, Followspot |
| Soft wash lighting | Fresnel, PAR can |
| Dynamic/programmable effects | Moving lights, LED fixtures |
| Pattern projection | Gobo (requires ERS) |
| Color modification | Gels, LED color mixing |
| Beam shaping accessories | Barn doors, shutters (on ERS) |
| Control signal transmission | DMX cable, Lighting console |
| Intensity control | Dimmer rack |
| Overhead safety | C-clamp, Safety cable |
Self-Check Questions
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Which two fixtures would you recommend for isolating a single performer with minimal light spill onto surrounding scenery, and why?
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A fixture responds to intensity changes but won't change color when programmed. Is this more likely a dimmer issue or a DMX issue? Explain your reasoning.
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Compare and contrast how a lighting designer would achieve colored light using gels versus LED fixtures—what are the tradeoffs of each approach?
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Your production has a performer who improvises movement throughout a musical number. Would you recommend programming a moving light or staffing a followspot operator? Justify your choice.
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During a safety inspection, you notice a fixture with a properly tightened C-clamp but no safety cable. What's the problem, and what should happen before the next rehearsal?