<![CDATA[Lighting Design Engineer Australia Luxplot - Blog]]>Sun, 24 Sep 2017 08:35:09 +1000Weebly<![CDATA[Thank you!                                                                                 Australian Building Codes Board - BCA J6.2 Carpark - Travel Zone]]>Wed, 05 Jul 2017 03:13:24 GMThttp://luxplot.com.au/2/post/2017/07/thankyou-australian-building-codes-board-bca-j62-carpark-travel-zone.html
Lux Plot Design - asked the Australian Building Codes Board, to make changes to the BCA J6.2 to reflect the standard shown in AS 1680.2.1-2008

They answered and are now rectifying the anomaly.

We thank you Australian Building Codes Board for listening!

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<![CDATA[All Downlights look the same - No!]]>Fri, 19 Feb 2016 00:32:09 GMThttp://luxplot.com.au/2/post/2016/02/all-downlights-look-the-same-no.html This render below depicts what some down light photometric distributions can look like.
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<![CDATA[LED Street Signage - for local Council Approval]]>Wed, 23 Dec 2015 02:42:26 GMThttp://luxplot.com.au/2/post/2015/12/led-street-signage-for-local-council-approval.htmlPicture
A report comparison is supplied starting with only road lighting and finishing
with the Proposed Signage at % of output

*Google Earth scales the location

*An outcome in DWG OR pdf format is supplied


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<![CDATA[7 Eleven Mobil - Concept Service Station]]>Fri, 24 Jul 2015 02:34:42 GMThttp://luxplot.com.au/2/post/2015/07/7-eleven-mobil-concept-service-station.html]]><![CDATA[Emergency lighting – Designing to the regulations]]>Wed, 20 May 2015 01:02:29 GMThttp://luxplot.com.au/2/post/2015/05/emergency-lighting-designing-to-the-regulations.htmlPicture
Avoid Costly Pitfalls

As this can have major impact on the worst case scenario...

We Ask - Why are we hearing,"there are too many emergency lights"  (OR) "No we don't need to put emergency lighting in our car park because the building doesn't need them.

It's not the BCA that's driving requirements! 
It's AS2293.1-2010 - Emergency escape lighting and exit.

Once again, when its good it's Good! and When it's bad it's BAD!

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<![CDATA[Projection of Still and Moving Image and how we interact with it!]]>Thu, 26 Mar 2015 04:08:06 GMThttp://luxplot.com.au/2/post/2015/03/projection-still-and-moving-image.htmlPicture
As the Visualist for The Australian Ballet's production of Wild Swans - 12 years on, it still holds it's own.

It was given its premiere by the Australian Ballet at the Sydney Opera House on 29 April 2003

Visualist - Someone who has tendencies towards visual beauty and creates such things that rely on light for expression.

 


Click Image and go 8:00 in to video

Programmed and sequenced projectors were manually cued through score reading at marked points. (Keep in mind this was always reproduced under live conditions with 2000 Audience and a Full Orchestra!)

4 x Computers -
25 x 35mm Slide projectors - 2 x Video projectors

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<![CDATA[LED - Key Players and Cross Licence agreements]]>Thu, 26 Mar 2015 03:11:24 GMThttp://luxplot.com.au/2/post/2015/03/led-key-players-and-cross-licence-agreements.html]]><![CDATA[ So Long, and Thanks for All the Fish ]]>Mon, 10 Feb 2014 05:23:54 GMThttp://luxplot.com.au/2/post/2014/02/-so-long-and-thanks-for-all-the-fish.html]]><![CDATA[Architectural Lighting - Pizza or Artistic Lighting when using Colour]]>Mon, 28 Oct 2013 23:52:39 GMThttp://luxplot.com.au/2/post/2013/10/pizza-or-artistic-lighting.htmlI would like to share a small story with those that may be starting out in the Lighting Industry. 

I ran the lighting department of the Melbourne Concert Hall (Hamer Hall; enunciated Hay-mer Hall) for some 5 years.
For anyone that has had the pleasure of having their own venue of such calibre, you will know where I come from with the following. 

The process of lighting the very wide performance spectrum on a concert hall platform uses all the tricks in the book and then some…

When one is handed the reins, the artistic creation is running at full speed, BUT,
it’s a trap for young players!
What happens, (regardless of your experiences) by the end of the performance you have created Pizza with all the toppings.

On average it will take a good lighting designer to grasp the full potential of lighting rig with accurate luminaire – type/position/angle/colour/blending and general creative mastery, 3 Months of 10/12hrs a day 6 days a week. 

Now why am I saying this?

Well, I always knew with the invention of a colour changing commercial fixture was going to
set some change on a city’s night profile, as one would.

It’s just a larger performance platform and yes a large PIZZA.
I could anticipate an uncensored governance of the use of coloured lighting upon city structures will take some 15+ years to settle.

Look at the city where you live!
Or the local shopping precinct.

James Graham
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<![CDATA[How Deep does your Lighting Designer think?]]>Wed, 04 Sep 2013 05:18:09 GMThttp://luxplot.com.au/2/post/2013/09/how-deep-does-your-lighting-designer-think.htmlHere’s where the thought process starts…

Mid winter on the East coast of Australia somewhere!

6:30 PM 
Tom, a hard working tradesman started on the road at 6AM, and, due to his workload, 
has not eaten all day. Navigates his vehicle towards McDonalds Drive through. 

Though his menu selection has yet to be made, his body is preparing  for the banquette ahead. His mouth is preparing for sustenance by salivation and his attention is
being focused towards edible treats that lie in the not too distant future.  
 
Meanwhile…
Mary and Luke, quarrelsome and competitive 6 year old twins, escape
from their mothers parked car in the centre of McDonald’s congested Car park, and
head straight for the front door in order to be the first inline for the New  Toy of the moment. Leaving mother to follow in hot pursuit, abandoning, their Aunty Em to stay in the car.

Time elapsed…
With Tom taking his order through the window of the Drive through and
nesting his spoils in the passenger’s seat, slides his vehicle into Drive and
promptly heads across the car park in order to make a quick getaway. At the same time,
appeasing his bodies request for sustenance, dips his hand into the bag of fulfilment to find the chips.

Simultaneously, Mary, displaying high emotions of joy and happiness by
emulating her toy of preference in flight as high as her arm can reach and
amazed by the flashing red eyes. Dashes, towards the car where Aunty Em is
sitting awaiting the next round of mayhem from the twins. 

This is where the story begins…
What are the vertical illuminances within the carriageway?

Tom, as good and responsible driver as he is, is being diverted by natural instinct.
Mary and Luke are being driven by other distractions, yet all are on the same field of play.

Assisting in the visual senses of all parties is the Key to this success.

In order to assist Tom, the good lighting design engineer has provided
more than adequate Vertical Illuminance, minimised any Glare, and created
High Uniformity over the entire site. "Etcetera" "Etcetera" "Etcetera"

Therefore, Tom is assisted to see Mary, as she is slipping out at a great rate of knots between
the parked vehicles directly out side the building of contentment.
Needless to say, with Luke following directly behind Mary heading towards Aunty Em. 

How deep does your Lighting Designer think?
Picture
Picture
Toy of preference!

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