|The 'vertical extender'; I like running three-dimesional games.|
(I was shooting some photos for the book...)
|IKEA 'Ledberg' cabinet lights, in place and on.|
But why the colors? Read on, and find out.
|The Underworld tiles in place; no 'set dressing' yet.|
I have a huge collection of stuff for this... :)
|The tiles are 1/4" MDF, painted;|
I am debating inking a stonework pattern onto them.
It's been a nice quiet week, here at The Workbench, and things are moving along nicely. I happened to have the vertical extender up on the game table - it made shooting some photos a lot easier - and it came to me that I should mention the LED lighting that's been installed...
Originally, the solid deck on the extender - there's also a transparent Plexiglass one for doing underwater games - was equipped with IKEA halogen under-shelf / cabinet lighting. I really like the lights, but they run pretty hot and I occasionally got little burns from brushing up against them while running games. I have several of the IKEA 'DIODER' light sets, which we used to great effect at Phil's memorial as the glowing backdrop to his Temple of Vimuhla model, and while they are very nice sets - they change colors, both manually and automatically, and look pretty darn cool - there are a lot of wires to have to deal with. I wanted something simple that worked reliably, and the IKEA 'LEDBERG' sets were just the thing. They come in red, blue, and white, which was just what I was looking for.
Huh? All three colors?
Why, yes, actually. I've done a lot of lighting work for both theater and video production, so I keep an eye out for new equipment and techniques. Which leads me to Jon Pertwee...
(Yes; that Jon Pertwee.)
The Missus, you see, is a Doctor Who fan from way back; she was a good friend of Anthony Ainley, and knew quite a few of the cast and crew from various conventions where she'd shoot rolls of film and give the photos to them for their use. She got me into doing some of these shows, and I was finishing the lighting set-up for one of them when I got a poke in the ribs: "You're a video guy, aren't you?" It was Jon Pertwee, and he was hugely amused at my lighting choices. We had a lovely time, talking about theater and cabaret work - most of which was right over the heads of the fans listening in - and about lighting.
In American lighting practice, especially in video work, the usual 'fall back' / 'default' is to use a color called 'bastard amber' in the lights to bring out the tones and highlights in people's faces; really intense colors are used for specific lighting needs and cues. It's really popular for video work, as it's usually a pretty safe way to light the set and the talent for the cameras. Jon told me about British practice in cabaret and theaters that host various acts in the course of a night; as there's no time to change the lighting rig between acts, one 'stock set' has to serve for all of them. Normally, this is done with fixtures that have several lamps - for redundancy's sake - and several fixtures all in line; each fixture gets one of: reds, blues, or clear for white filters. The performer gets 'lights up, lights down', and a nice wash that looks good on stage. Highlights and cues are normally done with follow spots, as these are manned lights and very flexible.
So, when I went to design the lighting for the table, I went with Jon's advice and lit the playing area with the British method. I think it looks really quite good - I like the lighting level, in terms of brightness, and the visually reddish-blue 'twilight effect' that this lighting gives. Certainly much nicer then the halogens, which I thought were a little too harsh in their effect - not all 'underworld'-like!
What do you think?