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Oslo theatre upgrades lighting with ETC

ETC luminaires have been added to the inventory at Oslo’s Det Norske Teatret, helping to reduce the noise made by the 100 conventional and moving lights on the lighting rig.

Noise levels from the lighting rig at Oslo’s Det Norske Teatret helped to prompt a renewal of the theatre’s lighting fixtures. Previously this consisted of some 100 conventional and moving lights – and to reduce the noise from the rig, operators were forced to turn off movers and keep scroller use to a minimum. So when a lighting upgrade was suggested, the managers decided to see what new technology was available. The theatre – which presents plays and musicals – already had ETC Eos-family control desks in each of its three performance spaces, along with Sensor dimming and ETC Net3 networking, so the management wanted to get the most out of the equipment they had invested in.

After having a shoot-out with various types of fixtures – both conventional and moving lights – they “fell in love with the ETC Source Four LED Lustr+ units” that had been brought along by ETC dealer Elektrik. Resident lighting designer Torkel Skjærven commented: “The fan was no longer a problem, the size was comfortable, the colour mix rich and the light output within our demands.”

For the 738-seat main stage, Skjærven decided to replace the theatre’s 30 back- and side-lighting luminaires with Source Four LED Lustr+ Zoom profiles, allowing “unlimited colour possibilities from those angles,” he said.

All the fixed conventional fixtures at the front of house were left in place, but Skjærven decided he wanted to add a crosslight system overhead on stage. “Because we were searching for lights that matched our tungsten fixtures, our options were seriously reduced,” he explains. “We recently switched to being repertory, which means there could be up to three separate performances a day.”

The demands of differing sets and designs meant he added 18 ETC Source Four Revolution automated zoom profiles, which were designed for quiet operation, giving the theatre’s lighting staff “a highly flexible solution of shuttering of walls, adding templates and colours or simply a nice high-side wash or special.”

He also added a fixed-focus system of conventional tungsten Source Four fixtures. “The main stage now can be quietly lit in a range of colours from any part of the performance area,” he explained, “without having to turn off parts of the system to avoid disturbing a quiet scene.”

For the second and third spaces, Skjærven added Source Four LED Lustr+ Zoom profiles in the side areas for crosslighting. “With the addition of close to 100 Source Four LED and 18 Revolution fixtures,” concluded Skjærven, “not only is the lighting uniform, but it is also uniquely stable.”