<p>Professional Entertainment Lighting control Solutions</p>

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Magic of Light

Vladimir Lukashevich

theatrical lighting

stage lighting

<p>The color of fabric under light can change radically. Unlike scenery, where paint provides a stable shade, fabrics often behave unpredictably. Even a costume sewn from different fabrics of the same color can appear multicolored under lighting due to the phenomenon of metamerism.</p><p>Synthetic dyes reflect narrow spectra, and when using colored filters, a “color dropout” effect may occur. Sometimes, mixing additional light sources to expand the spectrum helps solve the problem. Atlas and satin in this case provide a dynamic effect due to multidirectional light reflection.</p><p>Light can also distort the color harmony of costumes: bright filters can “suppress” the true shade of fabrics and cause color fatigue in the audience.</p><p><strong>Brightness and Costume</strong></p><p>Even a meticulously crafted costume can get lost if the stage area is lit too dimly. Costume designers suffer especially when details created with great effort remain invisible to the audience.</p><p>On the other hand, white or shiny fabrics under bright lighting can disrupt the scene's balance. Sometimes a costume looks rich in low light but turns into “rags” when brightness is increased.</p>

Color and Lighting of Costumes

<p>Fabric interacts with light in different ways: velvet “absorbs” light, creating depth, while shiny materials produce bright highlights. Light can emphasize or destroy the sculptural quality of a costume, so lighting must be calibrated taking into account the texture.</p><p><strong>Influence of Light on Scenery</strong></p><p>Light “extracts” the scenery from darkness, allowing the audience to “read” its image, similar to how a sculptor reveals form by chiseling away the excess.</p><p>Brightness determines which details will be visible. Lack of light hides elaborated elements, while excess makes the conventionality of the design too obvious.</p><p>Construction dictates the character of lighting: gaps in boards or the depth of an enfilade require backlighting or different lighting zones.</p><p>The color of scenery influences the perception of costumes. Reflected light can distort the fabric’s shade: contrast helps to accentuate attention, but similar colors create a “merging” effect and color fatigue.</p>

Texture and Modeling

<p>Light in theater is an active co-author of the costume and set designer. It can emphasize fabric texture, reveal scenery details, create harmony or destroy it. Successful interaction of light, costumes, and scenery requires precise experiments and collaboration of all the production team.</p>

Conclusion

<div class="raw-html-embed"><ul>
  <li>
    <a href="https://entertainment.sundrax.com/blog/fragment-from-the-practical-guide-magic-of-light-published-in-2013" target="_blank">
      A fragment from the practical guide The Magic of Light, first published in 2013.
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/stage-lighting-sound-integration-techniques-perception-history-and-creative-design" target="_blank">
      Stage Lighting &amp; Sound: Integration, Perception, History, and Creative Design.
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/section-what-does-a-lighting-designer-create-a-dynamic-communicative-environment" target="_blank">
      What Does a Lighting Designer Create? A Dynamic Communicative Environment.
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/what-tools-does-a-lighting-designer-use-controllable-properties-of-stage-lighting" target="_blank">
      The Lighting Designer's Tools: Controllable Properties of Stage Lighting.
    </a>
  </li>
</ul>

<p><em>Discover how light transforms into a complete language of theatrical art.</em></p>
<p>© Material based on <em>The Magic of Light</em> by Vladimir Lukasevich.</p></div>

Recommended Materials for Further Study:

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<div class="raw-html-embed"><p>Light in theater is not only a means of visibility, but also a tool that shapes the artistic image. Costumes and scenery, created by the set designer and costume designer, acquire their final appearance only in light, and it is the lighting that determines how the audience will see them.</p>

<p><strong>Costumes as “Moving Scenery”</strong></p>
<p>The costume designer works within the same system of principles as the set designer and lighting designer, but on a smaller scale. Costumes do not exist on their own, but form a unified composition that reflects both the mise-en-scène and the development of the action. Therefore, they are considered “moving scenery” that dictate changes in the structure of the lighting score.</p>

<p>Light influences the perception of a costume through four main aspects:</p>
<ul>
  <li>color</li>
  <li>brightness</li>
  <li>texture</li>
  <li>volume (sculptural quality)</li>
</ul></div>

Stage lighting transforms costumes and scenery through colour, texture, and brightness.

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<p>Stage lighting doesn’t just reveal costumes and sets — it transforms them. Light defines colour, texture, and atmosphere, turning design into living theatre.</p>

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DMX Connection Diagram

Ultra wireless compact 8/16 bit universal 12-24V DC with RDM functionality constant voltage DMX LED controller designed for use in theatrical scenery Sundrax Entertainment

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<p>LEDGate Wireless Compact is a regulated power supply for DMX512 LED control with beDMX transceiver function.</p><p>The device is designed to control two or four PWM LED control channels (LEDs, LED strips, etc.) via DMX512 protocol. LEDGate Compact provides short-circuit protection on each channel, precise dimming characteristics, flicker-free and supports 8 and 16 bit control mode. The unit switches automatically from DMX512 control mode to beDMX and vice versa, allowing for redundant control functions.</p><p>The unit is powered via DC mains, supply voltage 12-24 V, depending on LED type.</p><p>LEDGate Wireless Compact configured and monitored via RDM protocol (ANSI E1.20) or rotary switches.</p><p>The unit's compact design and low weight allows it to be placed almost anywhere: inside stage elements, on stage sets and on any other surface.</p>

LEDGate Slave Compact LEDGate Compact LEDGate Wireless Compact

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<p style="margin-left:0.0px;">All relevant industry-standard protocols such as beDMX, DMX512 and RDM are supported</p>

LEDGate Wireless Compact

Ultra wireless compact 8/16 bit universal 12-24V DC with RDM functionality constant voltage DMX LED controller designed for use in theatrical scenery

Compact Wireless Illumination Management Solution

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Package Contents

How Light Influences the Perception of Costumes and Scenery

<div class="raw-html-embed"><ol>
  <li><a href="#introduction">Introduction</a></li>
  <li><a href="#eye-optical-system">The Eye as an Optical System — What is Important to Know</a></li>
  <li><a href="#brain-and-perception-assembly">The Brain and Perception: How "Assembly" Creates the Picture</a></li>
  <li><a href="#brightness-and-contrast">Perception of Brightness and Contrast — Practical Essence</a></li>
  <li><a href="#dark-and-light-adaptation">Dark and Light Adaptation — Key Facts</a></li>
  <li><a href="#color-spectral-sensitivity">Color: Spectral Sensitivity and Thresholds</a></li>
  <li><a href="#color-adaptation-fatigue">Color Adaptation and Fatigue</a></li>
  <li><a href="#practical-conclusions">Practical Conclusions for Lighting Control</a></li>
  <li><a href="#summary-and-resources">Summary and Resources</a></li>
  <li><a href="#conclusion">Conclusion</a></li>
</ol></div>

<div class="raw-html-embed"><h2 id="introduction">Introduction</h2>
<p>
  Proper lighting design begins with an understanding of the physiology and psychology of vision. 
  Understanding the perception of light and color helps reduce visual fatigue, enhance the perception 
  of key objects, and increase the efficiency of lighting control systems in rooms and facilities. 
  For a deep technical foundation, we rely on material from
</p></div>

<div class="raw-html-embed"><h2 id="eye-optical-system">The Eye as an Optical System — What is Important to Know</h2>
<p>
  The eye is the first "line of filtration" for visual information: the cornea, lens, and retina form 
  the image and set the basic spectral-intensity profile of signals that will reach the brain. 
  The lens and curvature of the eyeball provide focusing and sharpness; the retina contains cones 
  and rods with different sensitivities to light and wavelengths. These basic properties determine 
  which details and colors will be available at all for subsequent processing by the brain.
</p></div>

<div class="raw-html-embed"><h2 id="brain-and-perception-assembly">The Brain and Perception: How "Assembly" Creates the Picture</h2>
<p>
  The brain does not simply display data from the retina — it interprets them: subtracts the background, 
  evaluates contrasts, corrects color, eliminates noise, and forms the meaningful and emotional part of 
  the visual experience. Therefore, the same light source can "read" differently depending on the context 
  of the scene and the viewer's previous visual experience.
</p></div>

<div class="raw-html-embed"><h2 id="brightness-and-contrast">Perception of Brightness and Contrast — Practical Essence</h2>
<p>
  Our sensation of brightness depends not only on absolute illuminance but also on the contrast between 
  the area of interest and the background. Contrast is the main tool for managing attention: brighter = 
  attracts attention. At the same time, eye adaptation changes the perceived level of brightness over time, 
  so a static "flash" loses its effect if contrast dynamics are not maintained.
</p></div>

<div class="raw-html-embed"><h2 id="dark-and-light-adaptation">Dark and Light Adaptation — Key Facts</h2>
<p>
  Adaptation processes allow the eye to cover a huge range of brightnesses (on the order of 10^11), 
  but adaptation is a temporal process. Full light adaptation takes about 20–30 minutes, the practical 
  part — 5–8 minutes; dark adaptation shows a characteristic "break" during the transition from cones 
  to rods and depends on the level of pre-adaptation. These facts influence how to plan changes in 
  scenes/zones of lighting and delays between critical scene changes.
</p>
<p style="text-align: center; text-decoration: underline;">
  <em>
    Key Idea: To maintain the sensation of brightness, it is better to increase brightness gradually 
    or keep contrast local, rather than flooding the scene all at once.
  </em>
</p></div>

<div class="raw-html-embed"><h2 id="color-spectral-sensitivity">Color: Spectral Sensitivity and Thresholds</h2>
<p>
  The eye's sensitivity to color is non-uniform across the spectrum: there are peaks in the blue-green 
  and yellow-green regions; the color perception threshold curve shows that recognizing color requires 
  a higher level of brightness than for achromatic perception. The sensitivity of color receptors also 
  depends on the background level and adaptation.
</p>
<p>
  <em>
    (This is where, in staging and engineering, it is important to consider the "spectral sensitivity" 
    of materials and light sources — once correctly selected spectrum provides a noticeable gain in 
    readability and color transmission.)
  </em>
</p></div>

<div class="raw-html-embed"><h2 id="color-adaptation-fatigue">Color Adaptation and Fatigue</h2>
<p>
  If the viewer is kept in one dominant color for a long time, sensitivity to that color decreases 
  (<em>color fatigue</em>), and subsequent scenes in contrasting tones will be perceived distorted 
  until sensitivity is restored. This phenomenon is called color adaptation and directly affects the 
  order of scenes, selection of filters, and duration of color floods.
</p></div>

<div class="raw-html-embed"><h2 id="practical-conclusions">Practical Conclusions for Lighting Control</h2>
<ul>
  <li>Use local contrast accents — they focus attention more strongly than overall flooding.</li>
  <li>
    Plan transitions in brightness and color taking into account adaptation time 
    <strong>(5–30 minutes depending on the task)</strong>.
  </li>
  <li>
    For night work/night shifts, apply long-wavelength (red) lighting to accelerate adaptation.
  </li>
</ul></div>

<div class="raw-html-embed"><h2 id="summary-and-resources">Summary and Resources</h2>
<p>
  Understanding the biology of the eye and the psychophysiology of perception is not an academic topic, 
  but a practical tool: it reduces errors in scene design, increases comfort, and helps form a predictable 
  visual agenda for the object. For practical tools and hardware solutions, look at detailed fundamental 
  guides based on the book <em>MAGIC OF LIGHT Practical Guide</em> by Vladimir Lukashevich.
</p>
<ul>
  <li>
    <a href="https://entertainment.sundrax.com/blog/fragment-from-the-practical-guide-magic-of-light-published-in-2013" target="_blank">
      Fragment from the practical guide “Magic of Light,” published in 2013
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/stage-lighting-sound-integration-techniques-perception-history-and-creative-design" target="_blank">
      Stage lighting–sound integration: techniques, perception, history, and creative design
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/section-what-does-a-lighting-designer-create-a-dynamic-communicative-environment" target="_blank">
      Section: What does a lighting designer create? A dynamic communicative environment
    </a>
  </li>
  <li>
    <a href="https://entertainment.sundrax.com/blog/what-tools-does-a-lighting-designer-use-controllable-properties-of-stage-lighting" target="_blank">
      What "tools" does a lighting designer use? Controllable properties of stage lighting
    </a>
  </li>
</ul>
<p>
  Look for other brief articles in 
  <a href="https://entertainment.sundrax.com/blog" target="_blank">our blog</a> 
  by tags:
</p>
<ul>
  <li><a href="https://entertainment.sundrax.com/blog" target="_blank" rel="nofollow">#Magic of Light</a></li>
  <li><a href="https://entertainment.sundrax.com/blog" target="_blank" rel="nofollow">#Vladimir Lukashevich</a></li>
  <li><a href="https://entertainment.sundrax.com/blog" target="_blank" rel="nofollow">#theatrical lighting</a></li>
  <li><a href="https://entertainment.sundrax.com/blog" target="_blank" rel="nofollow">#stage lighting</a></li>
</ul></div>

<div class="raw-html-embed"><h2 id="conclusion">Conclusion</h2>
<p>
  This article provided a brief briefing on the perception of light and color: from the structure of the eye 
  to the temporal laws of adaptation and practical rules for managing attention and color in real projects. 
  Applying these principles will improve the readability of space, safety, and emotional impact from visual scenarios.
</p>
<br>
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Close up of human eye reflecting warm and cool lights illustrating light and color perception

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<p>A concise, practical overview of how the human eye and brain perceive light and color, with actionable implications for lighting design and operations. Includes adaptation dynamics and quick recommendations for safer, more legible environments.</p>

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Rack mountable Art-Net/sACN to DMX converter with up to eight optically isolated DMX ports with built-in 2-ports ethernet switch

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<p>ArtGate Pro is an intelligent Ethernet to DMX solution and a powerful DMX converter with merging and data backup capabilities.</p><p>It is designed to control DMX512-based lighting equipment and can function as a reliable DMX node in complex lighting networks.</p><p>ArtGate Pro supports DMX512, RDM (ANSI E1.20), ArtNet (1, 2, 3, 4), sACN (Draft, Release), KiNet (v1, v2), RTTrPL, and Ethernet-based communication in a variety of signal receive/transmit configurations.</p><p>The device can be powered — for redundancy purposes — either in parallel from a 110–250 V AC power source or via PoE (Power over Ethernet according to IEEE 802.3af standard).</p><p>Additional Ethernet equipment can be connected via the integrated two-port 10/100/1000 Mbps switch with a media converter via an SFP module.</p><p>Two DMX through-ports (TRUE) are used for DMX communication.</p><p>In case of an emergency, the DMX converter is equipped with a dual-trigger input.</p><p>Hardware configuration is possible via the web interface, the ArtGate Setting utility, third-party software supporting the ArtNet protocol, or ARISTO software.</p><p>ArtGate Pro is designed for installation in a 19" rack, with a 1U height.</p>

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Professional Motion-Triggered Lighting Converter

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<p style="margin-left:0.0px;">All relevant industry-standard protocols such as Art-Net, sACN, KiNET, RTTrPL (Blacktrax), DMX512 and RDM are supported</p>

ArtGate Pro, 4 DMX (5-pin)

ArtGate Pro, 4 DMX (3-pin)

ArtGate Pro, 8 DMX (5-pin)

ArtGate Pro, 8 DMX (3-pin)

Rack-mountable Art-Net/sACN to DMX converter with up to eight optically isolated DMX ports and a built-in 2-port Ethernet switch

Rack-Mount DMX Node and Ethernet Converter for Pro Lighting Systems

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ArtGate Pro

<p>Línea de productos de nodos Ethernet y Splitters montados en rack</p>

Spain

<p>Sending ArtNet wireless with RadioGates</p>

ArtGate Pro with RadioGate Plus Solid

<p>In this video Melisa Patino, our Sales Engineer, shows how to set up switching between the nodes and check that you've done everything correctly — using ArtGate Ethernet Node and GigaJet Ethernet Node + switch + media converter</p>

Switching between DMX Ethernet nodes

<p>Web interface overview for ArtGates including GigaJet and ArtJet</p>

DMX-Ethernet nodes: Web Configuration Guide

<p>with SUBTITLES in English and Spanish</p><p>⚡️⚡️⚡️Introducing ArtGate Update 2020: 2nd Ethernet port, triggers and in+out powercon</p>

Product Review: ArtGate 2020

<p>Rack mount bidirectional DMX512-Ethernet converter, splitter, booster, intelligent merger. ArtGates supports wide range of network protocols for DMX data transmission: ArtNet I,II,III,4, sACN draft/release, KiNet v1,v2, RTTrPL.</p><p>Various merging modes available: HTP, LTP, Auto, Priority, Backup, Trigger, XFade to merge up to 4 incoming streams in any combination into DMX512 output for perfect show backup. All DMX ports may be used as inputs or outputs.</p>

Overview: ArtGates by Sundrax / DMX Ethernet Nodes

<p>Multifunctional splitters for larger DMX networks boosting the signal to create a network of 5 or 10 additional DMX lines from DMX input. All input and output channels have full galvanic isolation. Remote Device Management (RDM) compatible. The devices are suitable for indoor and outdoor use. Splitters are powered by 100-250V industrial AC mains, power consumption is less than 5 watts.</p>

Overview

Fundamentals of Human Perception of Light and Color: Eye, Brain, Adaptation

<div class="raw-html-embed"><ul>
  <li><a href="#introduction">Introduction</a></li>
  <li><a href="#light-and-music-points-of-contact">Light and Music: Points of Contact</a></li>
  <li><a href="#the-lighting-score-of-a-performance">The "Lighting Score" of a Performance</a></li>
  <li><a href="#the-method-of-lighting-direction">The Method of "Lighting Direction"</a></li>
  <li><a href="#the-practice-of-creating-a-lighting-score">The Practice of Creating a Lighting Score</a></li>
  <li><a href="#consistency-and-dissonance-of-light-and-sound">Consistency and Dissonance of Light and Sound</a></li>
  <li><a href="#a-deeper-look-into-the-art-of-lighting">A Deeper Look into the Art of Lighting</a></li>
  <li><a href="#conclusion">Conclusion</a></li>
</ul></div>

<div class="raw-html-embed"><h2 id="introduction">Introduction</h2>
<p>Modern theater combines a multitude of expressive means: text, music, scenography, actor's movement, and light. In this system, light ceases to be merely a technical tool and becomes a full-fledged artistic language. One of the key concepts in the practice of a lighting designer is the "lighting score"—a detailed organization of lighting design, comparable to a musical score.</p></div>

<div class="raw-html-embed"><h2 id="light-and-music-points-of-contact">Light and Music: Points of Contact</h2>
<p>Light and music possess similar expressive qualities: rhythm, dynamics, contrast, harmony. Experiments show that when the tempo of musical and lighting changes coincides, a special resonance in perception arises. Even intentional “dissonance”—when light contradicts the music—can enhance the dramatic effect and become an artistic device.</p></div>

<div class="raw-html-embed"><h2 id="the-lighting-score-of-a-performance">The "Lighting Score" of a Performance</h2>
<p>The lighting score records the sequence and character of lighting positions in a performance. It reflects:</p>
<ul>
  <li>a list of lighting positions;</li>
  <li>a plan for the placement of lighting equipment;</li>
  <li>a list of equipment and filters;</li>
  <li>the dynamics of lighting changes, coordinated with the music and actors' movements.</li>
</ul>
</div>

<div class="raw-html-embed"><h2 id="the-method-of-lighting-direction">The Method of "Lighting Direction"</h2>
<p>The term “lighting direction” was introduced by T.I. Bachelis in relation to the works of E. Gordon Craig. This method involves forecasting audience perception through light, similar to how a director works with actors. Lighting direction is the organization of “effects addressed to vision,” enhancing the intent of the poet and musician.</p>

<h2 id="the-practice-of-creating-a-lighting-score">The Practice of Creating a Lighting Score</h2>
<p>The work of a lighting designer goes through a series of steps:</p>
<ol>
  <li>Analysis of the play or musical score.</li>
  <li>Study of the sets, costumes, and actors’ movements.</li>
  <li>Creation of a lighting design script.</li>
  <li>Fixation of all parameters in the lighting score.</li>
</ol>
<p>This process allows the lighting fabric of the performance to be not random, but artistically motivated and organic.</p>

<h2 id="consistency-and-dissonance-of-light-and-sound">Consistency and Dissonance of Light and Sound</h2>
<p>In most cases, the lighting designer strives for parallelism between light and music—emphasizing their unity. But sometimes, it is precisely the “breaking” of this unity that provides a powerful dramatic effect. Random unmotivated changes are permissible only in special cases, when it is necessary to attract the audience’s attention or disrupt the habitual rhythm.</p></div>

<p>The concept of a lighting score connects light with music in theater, shaping rhythm, atmosphere, and dramatic tension. This article explores methods of lighting direction, dramaturgy, and visual-musical harmony.</p>

#theatrical-lighting

How Light Influences the Perception of Costumes and Scenery

Fundamentals of Human Perception of Light and Color: Eye, Brain, Adaptation

Light and Music: Interpretation and Creation of the "Lighting Score"

Fragment from the practical guide “Magic of Light,” published in 2013.

Stage lighting–sound integration: techniques, perception, history, and creative design

Section: What does a lighting designer create? A dynamic communicative environment

What "tools" does a lighting designer use? Controllable properties of stage lighting