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	WPI Technical Theatre Handbook: Parabolic Reflector Cans
	Parabolic Reflector Cans Parabolic reflector cans (most commonly called PAR cans, or simply cans) are non-focusable instruments. PAR cans consist mainly of a metal cylinder with a sealed-beam parabolic reflector lamp at one end. These lamps are very similar to those used in many automobiles as headlights. The instrument throws an unfocused beam, the shape of which depends on what type of lamp is in the instrument. The most common types of lamps are: very narrow spot (VNSP - "vee-nisp"), narrow spot (NSP - "nisp"), medium flood (MFL - "miffle"), and wide flood (WFL - "wiffle"). In addition to the type of lamp, PARs come in several sizes, denoted by a number (typically one of 16, 38, 46, 56 or 64). The instrument size and throw increase as this number increases. Theatrical applications of cans typically include washes and effects lighting. Color frames can be used with most cans by using the clips present on the front of the instrument. Refer to figure 5.4 for an example of a PAR can. Figure 5.4: Typical PAR can. 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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