1、ANSI E1.55 - 2016Standard for Theatrical Makeup Mirror LightingPhoto/2014-5005r7Approved as an American National Standard by the ANSI Board ofStandards Review on 16 September 2016. 2016 The Entertainment Services and Technology AssociationANSI E1.55 - 2016, Standard for Theatrical Makeup Mirror Ligh
2、tingNotice and DisclaimerESTA does not approve, inspect, or certify any installations, procedures, equipment or materials for compliance with codes, recommended practices or standards. Compliance with a ESTA standard or recommended practice is the sole and exclusive responsibility of the manufacture
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6、judgment or, as appropriate, seek the advice of a competent professional in determining the exercise of reasonable care in any given circumstance.Published By:The Entertainment Services and Technology Association630 Ninth Avenue, Suite 609New York, NY 10036USAPhone: 1-212-244-1505Fax: 1-212-244-1502
7、Email: standardsesta.orgi Photo/2014-5005r7ANSI E1.55 - 2016, Standard for Theatrical Makeup Mirror LightingThe ESTA Technical Standards ProgramThe ESTA Technical Standards Program was created to serve the ESTA membership and the entertainment industry in technical standards related matters. The goa
8、l of the Program is to take a leadingrole regarding technology within the entertainment industry by creating recommended practices and standards, monitoring standards issues around the world on behalf of our members, and improving communications and safety within the industry. ESTA works closely wit
9、h the technical standards efforts of other organizations within our industry, as well as representing the interests of ESTA members to ANSI, UL, and the NFPA. The Technical Standards Program is accredited by the American National Standards Institute.The Technical Standards Council (TSC) was establis
10、hed to oversee and to coordinate the Technical Standards Program. Made up of individuals experienced in standards-making work from throughout our industry, the Council approves all projects undertaken and assigns them to the appropriate working group.The Technical Standards Council employs a Technic
11、al Standards Manager to coordinate the work of the Council and its working groups as well as maintain a “Standards Watch” on behalf of members. Working groups include: Control Protocols, Electrical Power, Floors, Fog and Smoke, Followspot Position, Photometrics, Rigging, and Stage Lifts.ESTA encoura
12、ges active participation in the Technical Standards Program. There are several ways to become involved. If you would like to become a member of an existing working group, as have over four hundred people, you must complete an application which is available from the ESTA office. Your application is s
13、ubject to approval by the working group and you will be required to actively participate in the work of the group if you join as a voting member. This includes responding to letter ballots and attending meetings. Membership in ESTA is not a requirement. You can also become involved by requesting tha
14、t the TSC develop a standard or a recommended practice in an area of concern to you.The Photometrics Working Group, which authored this standard, consists of a cross section of entertainment industry professionals representing a diversity of interests. ESTA is committed to developing consensus-based
15、 standards and recommended practices in an open setting.ii Photo/2014-5005r7ANSI E1.55 - 2016, Standard for Theatrical Makeup Mirror LightingInvestors in InnovationThe Technical Standard Program (TSP) is financially supported by ESTA and by companies and individuals who make undirected donations to
16、the TSP. Contributing companies and individuals who have helped fund the TSP are recognized as “Investors in Innovation”. The Investors in Innovation when this standard was approved by the working group include these companies and individuals:VISIONARY ($10,000 100 employees/members)Columbus McKinno
17、nETCLDIProSight Specialty InsuranceUnited States Institute for Theatre TechnologyVISIONARY ($5,000 20100 employees/members)Altman Lighting, Inc. JR ClancyVISIONARY ($500 100 employees/members)Barbizon ElectricLexRosco LaboratoriesTexas Scenic CompanyINVESTOR ($1,500$4,999; 20100 employees/members)Am
18、erican Society of Theatre Consultants H 100 employees/members)Ian Foulds, IATSE Local 873IATSE Local 80PSAVSUPPORTER ($1,500; 20100 employees/members)Blizzard Lighting, LLCLycian Stage LightingOasis Stage WerksStage Equipment 20 employees/members)Milton DavisMichael LayNiscon Inc.Skjonberg Controls
19、Inc.*Investor for over 15 yearsChristopher B. TiltonTracy UnderhillKen VanniceAll donations to the TSP support the Technical Standards Program in general and are not directed to or for the benefit of any particular technical standard project or any Working Group working on any particularstandard or
20、project. If you would like to help support the Technical Standards Program in its work, please consider becoming an Investor in Innovation by visiting our website at http:/tsp. est a.org/invest or contacting standardsesta.org.iii Photo/2014-5005r7ANSI E1.55 - 2016, Standard for Theatrical Makeup Mir
21、ror LightingContact InformationTechnical Standards ManagerKarl G. RulingThe Entertainment Services and Technology Association630 Ninth Avenue, Suite 609New York, NY 10036USA1-212-244-1505karl.rulingesta.orgAssistant Technical Standards ManagerErin GrabeThe Entertainment Services and Technology Assoc
22、iation630 Ninth Avenue, Suite 609New York, NY 10036USA1-212-244-1505erin.grabeesta.orgTechnical Standards Council ChairpersonsMike GarlMike Garl Consulting LLC1-865-389-Mike WoodMike Wood Consulting LLC1-512-288-Photometrics Working Group ChairpersonJerry GorrellTheatre Safety Programs1-480-837-iv P
23、hoto/2014-5005r7ANSI E1.55 - 2016, Standard for Theatrical Makeup Mirror LightingAcknowledgmentsThe Photometrics Working Group was the consensus body for the development of this standard. The working groups members with company affiliations and interest categories at the time the working group appro
24、ved this standard on 26 July 2016 are listed below: Voting Members Jerry Gorrell - Theatre Safety Programs (U)Mitch Hefter - Philips (MP)Ed Hyatt - Boston Illumination Group, Inc. (CP)Michael Lay - Philips (MP)Wendy Luedtke - Electronic Theatre Controls, Inc. (MP)Karl G. Ruling - Unit 12 Productions
25、 (DE)Ken Vannice - Ken Vannice LLC (G)Mike Wagner - Arnold that is, the space through which a performer might lean toward or away from the mirror must be near-field space, one in which the inverse square law does not apply.An adequate level of illumination is important, but the luminance of the sour
26、ces should be limited. It is impossible to light the face around the performers eyes without also shining light into the eyes. This direct light from the sources into the eyes must not be blinding or an uncomfortable glare, particularly if the performer is also the makeup artist and is applying his
27、own makeup.Color rendering also is important. It is not important that the makeup being applied at the makeup station appear as it will on stage, but it is important that the different colors of makeup can be easily distinguishedfrom each other at the makeup station. Most makeup colors are pastels,
28、but some are intense colors that may be difficult to distinguish if the illuminating light source has significant gaps in its spectrum. 4.2 The conventional solutionA conventional makeup mirror lighting system usually consists of a vertical row of incandescent lamps on each side of the makeup mirror
29、 and a row horizontally along the top. In some venues, the system consists of two horizontal rows: one above and one below a large makeup mirror spanning several makeup stations, and occasionally in systems with two vertical rows and none across the top. In both cases, the numerous lamps effectively
30、 make a large source that almost encircles the performers face, thus providing light to the sides of the head, top of the forehead, and under the chin. The large source provides a lot of light but with limited source luminance. The large source size and the close proximity of the performers face to
31、the source largely nullifies the inverse square law; the performers face, 300 to 500 mm in front of the mirror, is effectively in the near field of the makeup mirror lighting system.2 Photo/2014-5005r7ANSI E1.55 - 2016, Standard for Theatrical Makeup Mirror LightingConventional incandescent lamps al
32、so provide excellent color rendering for the purpose. Operated at theirnominal voltage, they have a CRI Ra rating of almost 100. Their CCT of about 2700 K gives a light that looks normal to most performers and makeup artists. The use of lamps on a voltage lower than their ratingto increase lamp life
33、 (e.g., 130 V lamps operated at 115 V) will result in a lower CCT and reduced shorter-wavelength output, but color rendering is usually acceptable, although seeing blues is more difficult.4.3 Leaving the conventional solutionThe topology of a conventional makeup mirror lighting system works; there i
34、s no compelling reason to abandon it. However, the efficacy of conventional incandescent lamps, only about 14 lumens per watt, is aproblem. This low efficacy means that some conventional incandescent lamps are no longer available on the market because of energy efficiency regulations. When they are
35、available, many people would prefer not to use them to reduce energy costs, to reduce heat in dressing rooms, and to reduce the negative impact on the environment from powering lighting. There are many reasons why people would prefer to use more efficacious sources or might be required to use them.
36、However, once a cook-book approach (e.g., “Use rows of 60 W A-lamps, and it will be fine.“) of a conventional solution must be abandoned, it becomes important to consider what the lighting system must or should do.5 Requirements (normative)5.1 Level of illumination The level of illumination produced
37、 on the performers face plane must not be less than 500 lux throughout the range of 200 mm to 600 mm from the performers face to the mirror. The level of illumination produced on the performers face plane at distances from 200 to 600 mm from themirror should not be less than 1000 lux, as this is a b
38、etter value. 5.2 Maximum luminanceThe luminance of the visible parts of the system shall not create uncomfortable or debilitating glare for the performer or makeup artist. The luminance of the lighting system seen by the performer or makeup artist should not be higher than 30,000 cd/m2.5.2 CCTThe CC
39、T of the sources shall be between 2700 and 3500 K. 5.3 Color renderingThe sources shall provide good color rendering. Good color rendering will be provided if one or more of the following criteria are met:(a) The source is an incandescent or tungsten-halogen lamp with slight or no filtering of the o
40、utput. (b) The source produces a Continuous Spectrum.(c) The source has a CRI Ra, CQS Qa, or TM-30-15 Rf rating of 85 or higher. This requirement will be met if any of these ratings are 85 or higher; it is not necessary that two or all of the ratings be 85 or higher. 3 Photo/2014-5005r7ANSI E1.55 -
41、2016, Standard for Theatrical Makeup Mirror Lighting5.4 Topology of the systemThe topologies described in the subclauses of 5.4 comply with this standard. Other topologies, such as a single horizontal line of lamps, do not.5.4.1 Inverted UAn inverted U lighting system shall consist of a vertical lin
42、e of lamps or a continuous source on each side of the mirror and one horizontal line of lamps or a continuous source across the top. If discrete lamps are used, there shall be at least two lamps used in the vertical rows and at least two lamps across the top, with no more than 500 mm between adjacen
43、t lamps in a row. Lamps at the end of the top horizontal row inline with the vertical rows shall not be considered part of the horizontal row but shall be considered part of the vertical rows.The vertical row of lamps or continuous source on each side of the mirror shall be long enough that, when th
44、e performer is sitting or standing at the makeup station, whichever is considered the normal position, thebottom and top of the vertical row of lamps/continuous source shall be 280 mm or more below and above the height of the performers nose. The vertical row of lamps or continuous sources shall be
45、at least 560 mm long. The spacing between the vertical rows of lamps or continuous sources shall not be less than 600 mm nor more than 1200 mm.5.4.2 Double horizontal rowA double horizontal row system shall consist of two horizontal lines of lamps or a continuous sources, with one row or line across
46、 the top above the mirror and one below the mirror. If discrete lamps are used, thereshall be no more than 500 mm between adjacent lamps in a row. The horizontal rows of lamps or continuous source above and below the mirror shall be spaced far enoughapart that, when the performer is sitting or stand
47、ing at the makeup station, whichever is considered the normal position, the bottom and top rows shall be 280 mm or more below and above the height of the performers nose. The horizontal rows of lamps or continuous sources above and below the mirror shall beat least 560 mm apart. 5.4.3 Double vertica
48、l rowA double vertical row system shall consist of two vertical lines of lamps or continuous sources, with one row or line on each side of the mirror. If discrete lamps are used, there shall be no more than 500 mm between adjacent lamps in a row. The vertical row of lamps or continuous source on eac
49、h side of the mirror shall be long enough that, when the performer is sitting or standing at the makeup station, whichever is considered the normal position, thebottom and top of of the vertical row of lamps/continuous source shall be 280 mm or more below and above the height of the performers nose. The vertical row of lamps or continuous sources shall be at least560 mm long. 5.5 Distribution of illuminationThe sources shall project light toward the performers face when seated or standi
