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	WPI Technical Theatre Handbook: Smoke and Fog
	Smoke and Fog Many productions can benefit from the use of artificially generated smoke. The effect is commonly used in fire scenes, as it can add a lot of realism to a scene. Commercially available machines are available that use a chemical fluid to generate smoke. The fog fluid is generally made out of glycol and water, making it relatively non-irritating and safe for use in a theatre setting. Machines are available with remote controls that allow smoke to be discharged with the push of a button. Also, most remotes allow control of the volume of smoke discharged. A typical smoke machine is show in figure 8.3 Figure 8.3: A Rosco Laboratories, Inc. smoke machine. WPI owns a model similar to this. The smoke produced by most commercial smoke machines tends to diffuse relatively quickly. For a more low-lying fog effect, fog machines are often used. These machines use dry ice, which is solidified carbon dioxide, due to an extremely low temperature. The machines are fairly simple in construction. A large drum holds water which is heated by an electric heating element. At the top of the drum, a basket holds chunks of dry ice. This basket can be lowered into the water with an external control. The top of the drum is sealed, save for an exit point for a large hose. When the basket is lowered into the water, the dry ice sublimes, and a thick, white carbon dioxide fog is formed. This fog is heavier than air, so it tends to hug the ground as it comes out of the hose. Fog machines produce a very believable effect, and the fog produced is completely harmless. Figure 8.4 shows a typical dry ice fog machine. Figure 8.4: A typical dry ice fog machine. Two similar foggers are owned by WPI, and often used in theatre productions. Often both smoke and fog are used together to produce a very interesting effect. As usual, it is important to not over-use either effect, as they tend to lose their impact the more that they are used. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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