Need suggestions regarding placement of power supply source for ceiling rail system

<p>Hello everyone,<br>

I have found a similar topic in the forum, yet my question is a bit different from what was discussed there. So...<br>

I have just finished installing the Manfrotto Sky Track 54 ceiling rail system in the studio. The system consists of two fixed 5 meter rails and three moving 3 meter rails. Currently there are 4 pantographs, but I might add one or two more in the future (either pantographs, or telescopic poles - doesn't matter). Now I need to decide where to install the power supply outlets, so that the power cables wouldn't get in the way when moving rails. My idea is to install two separate extension units (with 3 or 4 sockets each) approximately 1,5 meters outside the fixed rails (attaching the units somewhere along the middle of the fixed rails). One on one side and one on the other. Is that a good idea or should I have a separate socket to the side of each moving rail? Since it is my first experience with ceiling rail systems, I would like to get it right from the very start, rather than go the trial and error route and drill too many holes in the ceiling... Thanks in advance for your time<br>

Attached is my idea of socket placement.<br>

<img src="http://www.mphoto.lt/img/power.jpg" alt="" width="643" height="700" /></p>

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<p>Hi, I don't know if there is really any one "right way" with the layout you have. I'd say that your idea is maybe the best way, except for the "extension units." Many building codes don't want extension cords to be used in a permanent setup, so it's better to use a single power cord going to a wall/ceiling outlet.</p>

<p>My thinking is along these lines. You don't know where the lights may end up, so it's possible that all 3 moveable rails may end up clustered at one end or the other of the fixed rails. So the best way to handle this is a central power source that can reach either extreme.</p>

<p>The downside is that, when a moveable rail is centered, its power cable will have a dangling loop (about half the maximum stretch, or 2 meters). Now you have the risk of someone walking into that dangling loop and perhaps falling down. If this happens, you want the cable to be able to be yanked out of the outlet, so it might be better to have ceiling-mounted outlets. Or perhaps you can find some spring-loaded lanyards to keep any slack cable above people's heads. Or lightweight, wall mounted booms that will swivel wherever the cable is pulled (somewhat like you find in a do-it-yourself carwash).</p>

<p>You also want some way to disconnect the flash units, so it would be nice to have these on a switched circuit. Wall switches would be nice, or perhaps a breaker box on the wall. When you quit for the day, you just kill the power and you know that everything is off. It's probably worth looking at your local electrical codes to make sure everything is ok.</p>

<p>You mentioned having outlets on both sides of the room, so it appears that you have already thought this through. Obviously, if you try using two lights on the same track, the inside light can interfere with the cable trolleys for the outside light, so it's better if each light can have power supplied from its own end of the track.</p>

<p>It's probably too late now, but something I've found convenient for portrait work is to use curved track, in an arc around the subject. It's more limiting regarding capabilities, but for production-type portrait work, it's pretty effective. You can put two lights on the same track, for main and fill, and both will maintain proper distance. The power feed can come from the ceiling, near the center of the arc, so the amount of slack stays constant.</p>

<p>Hope your system works out for you!</p>

<p>Bill - thank you very much for your thoughts.<br /> Regarding the 'central power source' - are you speaking about the possible positioning of the source in the centre, between the fixed rails? This might work only if I have a kind of distribution or connection box there, because the fixed rails are attached directly to the ceiling and the space between the ceiling and the top of the movable rail is fairly tight. And you are right about the dangling loop, even though theoretically this should not be a problem as the ceiling is ~3.60 meters high and the cabling of the central rail should be shorter by default (this rail will stay more or less around the centre, or slightly closer to the background).<br /> You are right about the need to be able to fully cut the power supply when leaving the studio. I was thinking that since the cables (or extensions) would come from the wall mounted sockets - I'd simply unplug them when leaving. Another option is to insert a simple on/of switch into the circuit. or several switches, since I intend to draw power from different sockets, to prevent overload. 4 or 5 lights plugged into a single outlet might be a bit too much I think.<br /> Regarding the curved track - I thought about it but decided not to do it (or, if I see that the 1st rail does not give enough flexibility, I can always add the curved track later) <br /> Thanks again for providing some food for thought:)</p>

<p>I'd run them all out to the same side with one light per floating rail.</p>

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<p>Regarding the 'central power source' - are you speaking about the possible positioning of the source in the centre, between the fixed rails?</p>

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<p>Hi, no, I mean exactly the way you have sketched it.</p>

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<p>Regarding the curved track - I thought about it but decided not to do it (or, if I see that the 1st rail does not give enough flexibility, I can always add the curved track later)</p>

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<p>I'm sure your current rail system will have enough flexibility. The only thing the curved rail adds is the ability to automatically maintain distance to the subject. So if you make frequent adjustments to the main, a little more to the side, etc., you don't have to keep pointing the lighthead back toward the subject and double-checking the distance.</p>

<p>Sounds like you have enough ceiling height to keep cables out of the way. Hopefully you can get your lights low enough for everything you do (the scissor lifts tend to have a limited working range). If not, a roll-around light stand works for occasional use.</p>

<p>Sounds like you'll have a pretty nice studio setup. Congratulations!</p>

<p>Brooks - thanks. a bit off-topic, but when I am writing this post there's an image titled <em>Rita 1972</em> displayed at the bottom of the page - what a wonderful portrait and lighting, and the overall aesthetics of this image are very close to what I intend to do in my studio:) Moreover - one of the key objectives I set for myself is to bring back to active life my Mamiyas (RB67 and c330) - and there comes your image, taken on a 6x6 Hasselblad, yet cropped very close to the 6x7, a format that I adore. No, I don't believe in coincidences:)<br>

Bill - my English is to blame, I am not a native speaker. Anyway - you are absolutely right - this is going to be a very nice and cozy studio, with enough room for full body/head and shoulders portraits. I'll post the pictures when all the works are complete. I see a very intense and interesting summer ahead:)</p>

<p>Thanks for your kind words regarding "Rita 1972", Martynas.</p>

<p>That was shot years ago with a single flash into a 48" white umbrella on a light stand. No ceiling rail system involved!</p>

<p>More to the point, I've had a ceiling rail system in my studio for over 25 years and it's a great convenience. I use power packs and flash heads and have all the flash head cables exiting the rail system to the left where I keep my power packs on a movable cart. I've found that it simplifies things to have all the cables drop to the floor on one side of the studio instead of both sides.</p>

<p>Hope this helps....</p>

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