In the performances of operas and ballets in professional theaters, the truss electric stage hoist is like an "invisible conductor" behind the scenes, endowing the stage space with the magic of narrative with millimeter-level control precision. When the opera Turandot presents the royal feast, four hoists synchronously pull the gilded castle set weighing several tons, slowly rising along the preset truss track. The carved colonnades and painted domes are gradually revealed under the follow spot, and within 30 seconds, the audience is transported from the marketplace streets to the majestic Forbidden City scene. The noise during its operation is controlled below 20 decibels, which does not interfere with the singers' arias at all.
In the second act of the ballet Swan Lake, the three-dimensional scheduling of the gauze curtains completed by the cooperation of six sets of truss electric stage hoists can be called the perfect integration of stage machinery and artistic expression: when the electric hoists on both sides lower the blue-purple gauze curtains obliquely at a speed of 0.5 meters per second, the special warp and weft woven patterns refract light spots under the side light, just like the sparkling light of moonlight the lake surface. The wavy cut at the edge of the gauze curtain naturally hangs down with the descending angle, accurately outlining the arc-shaped outline of the Swan Lake shore. The two truss electric stage hoists on the top operate in coordination like the gears of a precision clock. They first release the light white mist gauze at a low speed of 0.3 meters per second, and at the moment when the ballet dancer's toes lightly touch the lake surface, the speed suddenly increases to 1.2 meters per second, making the gauze curtain fall like a waterfall and just brush past the dancer's skirt. At this time, the reflector at the bottom of the stage refracts the light onto the gauze curtain, making Princess Odette's figure form a double overlap inside and outside the gauze curtain. In the interweaving of virtual and real, it is as if the soul of the swan is lingering on the lake surface. This multi-dimensional movement of the set relies on the real-time communication between the 16-bit encoder built into the hoist and the stage control system, which completes a position calibration every 50 milliseconds, ensuring that the position error of each piece of gauze curtain does not exceed 3 centimeters, and even the wrinkle angle at the edge of the gauze curtain can be accurately reproduced.
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