Theatre LED Lighting Rig

Rigging for events: Part 4

Today, I’ll be extending my ‘accidental’ Rigging for Events series – though at this point, it’s less of an accident and more of a saga. For those eager to backtrack through this thrilling journey, my previous posts await your perusal right over here:

Today’s adventure takes me into the dazzling world of LED lighting, right in the heart of where I feel utterly at home—the theatre. There’s something about theatres that casts a spell on me, whether I’m soaking in the spectacle as an audience member or weaving the enchantment backstage. It’s like stepping into a realm where every light bulb has a secret and every spotlight holds a story.

It’s worth mentioning that this post is my third take. Initially, I was all in for the ETC range of fixtures, but a dive into research had me cosying up to Robe. However, just as I was dotting the i’s and crossing the t’s on my Rig Renders, Ross’s article on the Nairn Little Theatre’s lighting makeover shone a light on some wallet-friendly alternatives that caught my eye.

I might circle back to the ETC and Robe fixtures down the road, but after diving into the specs Ross laid out and giving his advice a good listen, I’m leaning towards this path for those of us keeping an eye on the purse strings. Hats off to you once more, Ross.

The Theory of (Lighting) Everything

Before we dive into the nitty-gritty of theatre fixtures, let’s take a moment to shine a light on my Theory of (Lighting) Everything. It’s time to illuminate our minds with a refresher on the most common fixtures that grace the stages of theatres. From the dramatic spotlights that follow the divas to the strobes that give us that disco fever, we’ll explore the luminaries that make every theatre production a bright idea.

Fresnel

Fresnels are the superstars of stage lighting, often taking centre stage in the world of illumination. They’re the go-to fixtures for painting the stage with light, and if you ask me, having a duo or even better, a trio of these luminous wonders for each section of the stage is the secret recipe for a visually stunning performance.

Upstage Right	Upstage	Upstage Left
Stage Right	Center Stage	Stage Left
Downstage Right	Downstage	Downstage Left

When it comes to halogen bulb fixtures, the numbers can skyrocket faster than a cat chasing a laser pointer. You’ve got your base wash, typically the L103 Straw, which is like the vanilla ice cream of lighting. Then, you pile on more washes than a toddler’s paint set for each colour your show decides to throw into the mix. But here’s a clever trick: just add three more washes to your lighting sundae – L116 Medium Blue-Green (the cyan that thinks it’s too cool for school), L113 Magenta (the diva of the spectrum), and L101 Yellow (sunshine in a gel). Mix ’em up like a DJ with his tracks, and voilà, you’ve got the perfect hue for your scene’s mood.

Ever pondered the mystery of the two or three lights per stage area? Well, it’s all about that dramatic flair! The dynamic duo of lights on opposite ends creates that oh-so-important cross-lighting, ensuring our star doesn’t end up looking like a pancake. And that third wheel? It’s the secret sauce for that behind-the-scenes glow, giving our performer’s hair that heavenly halo effect, so they pop out rather than blend into the background.

Profile

Profiles are the divas of stage lighting, always ready to steal the show with a dramatic entrance or a fancy gobo pattern dance. They’re armed with shutters, so you can shape the light just like you’re sculpting a masterpiece. And let’s not forget the focus and zoom lenses – they’re like the magic wands of lighting, turning your spotlight from a laser-sharp beam to something as soft and indistinct as the latest Eastenders storyline. For an encore, throw in an extra profile or two to ensure that particular spot is as evenly lit as a British summer day – you know that time just before it rains.

Profiles are the unsung heroes of stage lighting, especially from the Front-of-House. They can cast their beams across vast distances, which is quite handy when you’d rather not have lighting fixtures dangling precariously in your audience’s line of sight. It’s all about keeping the drama on the stage, not in the seating area!

Wash

Wash lights are the unsung heroes of the lighting world, doing exactly what their name suggests—dousing the scene in a deluge of light. Without the nifty addition of barn doors, you’re pretty much at the mercy of the beam’s whims. But slap on those doors, and voila! You’re the beam’s master. These luminous wonders are perfect for illuminating vast expanses, like a cyc that’s lounging at the stage’s rear, or for some dramatic uplighting when placed at the stage’s edge. It’s like giving the stage a nice, warm bath of light.

Parcan

The Parcan, akin to a floodlight’s less disciplined cousin, bathes an area in light with its distinct oval-shaped beam. Fancy a change in scenery? Just give the bulb a twist in its housing to shuffle the beam’s direction. Perfect for splashing vibrant color across a space or conjuring up beams of light that cut through smoke or haze like a lightsaber through butter!

If you take a trip down memory lane and watch some vintage concerts, you’ll be dazzled by the on-stage spectacles crafted entirely from parcans. They’re not just lights; they’re the rock stars’ trusty sidekicks, basking in the glory of the performance. For a blast from the past, feast your eyes on Queen’s Live at Wembley—it’s a shining example of parcan artistry in action!

The Venue

I’ve whipped up a cozy little theatre space in Blender, a sort of Frankenstein’s monster of various theatres I’ve tinkered with over the years. It’s on the petite side, but then again, I’ve always had a soft spot for snug venues where you can practically feel the actor’s breath—it’s like being wrapped in a warm, dramatic blanket. Maybe it’s just my preference, but I believe the smaller the stage, the bigger the impact.

Imagine a space, tailored to the grandeur of The Spa Theatre in Bridlington, boasting a stage as wide as a giant’s dining table at 16 meters and as deep as a dragon’s lair at 12 meters. It features a proscenium arch, grand enough to frame a Shakespearean spectacle, stretching 8 meters wide and rising 4 meters high. Above, a fly tower soars at a majestic 12.5 meters, where stagehands might feel like Jack on his beanstalk. The auditorium, a cavernous expanse, spans 18 meters wide. Its stalls stretch back 15 meters, as if trying to escape the balcony that looms overhead, extending the total depth to a cavernous 25 meters. And let’s not forget the height – a towering 15 meters, where the air is tinged with anticipation and the echoes of applause.

Alright, let’s dive into the kaleidoscope of colors that is my venue design plan. Green is not just for envy anymore; here, it represents the venue itself—walls, floors, you name it. The pink line? That’s the showbiz equivalent of a red carpet, marking where the cyc, star cloth, or video wall will glam up the back of the stage. Now, the red lines are like the veins of the stage, the lifelines for set pieces or backdrops to hang from during the show (and those thick red lines are the stage’s secret agents, hiding the lighting and stage sides). The blue bits are the unsung heroes, the trusty hanging points for fixtures.

Now, brace yourself for the front-of-house rig—it’s a bit like a Russian nesting doll with two squares nestled inside each other. This brainwave hit me while reminiscing about one of my first gigs at a refurbished theatre. They had a similar setup, and though it initially had me scratching my head, I soon realized its genius. It’s not just about having a few hanging positions in line with the stage; it’s the perpendicular ones that are the real game-changers, especially when you’re playing hide and seek with projector hanging points. Plus, they’re a ticket to a dazzling audience lighting array, making every spectator feel like they’ve stepped into the spotlight.

And don’t get me started on the truss at the back of the auditorium, just shy of the ceiling. It’s a must-have for that front-of-house wash, ensuring that performers don’t look like they’re part of a shadow puppet play for the balcony crowd.

But wait, there’s more! These hanging points are ready to pull a Houdini with effects. I’m itching to channel my inner Rammstein and bring out the big guns with a crossbow rocket effect.

And the cherry on top? Every hanging point is hitched to a motorized winch, making maintenance a breeze and letting us play musical chairs with the lights during the show. It’s like having a dance party but with lights. Who said rigging couldn’t be fun?

Fixtures

Now that we’ve got the lowdown on the types of fixtures and the venue, it’s showtime for choosing our lighting fixtures.

Cue the drumroll, because every single one of our lighting stars will be LED and DMX-controllable. That’s right, no more fiddling with dimmers, which means the theatre’s wiring can take a breather.

Instead of laying down a golden path of pricey DMX cables, we’re going to get tech-savvy. Imagine ethernet cables strutting out of the Lighting Desk, and waltzing into DMX Nodes at each hanging position. All whilst using the Artnet protocol to tell each other what going on.

Picture this: power flowing from a fuse box into a Socopex socket, then leaping onto an Internally wired bar on each truss with the grace of a Socopex cable. With six circuits in each cable, it’s like having a power party at every hanging position. And since LED fixtures are more power-efficient than their older, hungrier relatives, we can chain them up without a hitch. In the UK, we’re talking a hefty 3.68kW per circuit.

For the grand ensemble, I’ve handpicked a medley of manufacturers to match our performance needs. Spotlight on the eLumin8 Virtuoso range – the budget-friendly maestros of LED fixtures from ProLight’s professional lineup. They’re like the one-trick ponies of the lighting world but in a good way. No steep learning curves here, just the added flair of colour-changing without the gel hassle and the ability to throw a strobe party, if you want to turn your ballet into a rave.

Opting for a uniform brand for all main fixtures, utilizing identical light sources, guarantees a consistent colour spectrum across the board. This means you can bid farewell to the tedious task of tweaking RGB settings on each fixture to achieve a match. Plus, with a Colour Rendering Index (CRI) of 90 or higher, these fixtures are perfect for capturing events or performances in all their glory. And as Ross eloquently put it in his write-up:

“These provide a good quality, high CRI, light that works well on skin tones and performers look natural as they would under incandescent lamps (not ‘lifeless’ as some of the budget LED products I’ve used in the past have!)”

Ross McKillop

I couldn’t have said it better myself, and I’m not about to take a bow for words that aren’t mine.

When it comes to the moving lighting I have gone with another budget-friendly option

Fresnels

I’ve opted for the Virtuoso 2000 for the fresnels, a real showstopper with a two-year encore—err, warranty. It’s got a dazzling 220W five-colour COB LED spotlight that can throw shades faster than a chameleon on a disco ball.

Beam angle? Adjustable from a sharp 15° spotlight to a broad 45° floodlight, with a brightness that goes from ‘wow, that’s bright’ at 12,871 Lux to ‘still pretty impressive’ at 1,647 Lux.

The Colour Rendering Index is over 90, making sure the colours pop more than bubble wrap at a boredom convention. And if you’re fussy about the mood lighting, the colour temperature’s got more range than a singer with a five-octave range, adjustable from a warm 2,700K to a cool 8,000K.

The refresh rate’s got more options than a diner menu, from 1.2kHz to a flicker-free 25kHz.

DMX channels? It’s like a TV with too many channels, offering 8/9/10/13 or 19 options. It’s got RDM, because who doesn’t like a bit of remote control?

Dimming? Smooth as butter, from 0 – 100%, in both 8 or 16-bit. Dimming curves come in four flavours: Linear, square law, inverse square law, and the ever-dramatic S-curve. And for the grand finale, it throws in a variable strobe to make Lightning jealous.

A four-button menu with an LCD display for those who miss the ’90s, powerCON in & out for the power-hungry, 5-Pin and 3-Pin XLR in & out for the connection enthusiasts, three fan modes for the temperature-sensitive, a rear handle for the grab-and-go types, and a filter frame because why not?

In contrast to the elusive robe fixtures of yore, I’ve struck gold with multiple price points for these illuminators. The folks at 10 Out of 10 have them shining bright at £732 (VAT’s embrace included). But wait, there’s more! You’ll need to fork out an additional £45 for a set of Barn Doors (VAT not shy here either), which cranks up the grand total to a dazzling £777 per fixture (VAT taking a bow). I like the triple 7 there though, maybe, just maybe the fixture will bring us luck as we delve into the rest of the fixture list.

Profiles

When it comes to picking our profiles I’ve gone with the Virtuoso 1000 Profile. With a 2-year warranty to kick things off, this isn’t just any light—it’s a veritable rainbow in a box with its 250W five-colour LED Array (RGBAL). The beam angle plays a game of limbo, how low can it go? From a narrow 5° to a wide 50°, depending on the lens you choose. It’s like having a personal sun at your command, with a luminosity ranging from a cosy 2,589 Lux to a blinding 26,986 Lux, all at 2 meters away.

And let’s talk about colour temperature—this light doesn’t just give you a warm or cool hue; it gives you the whole thermometer, from a cosy 2,700K to a chilly 8,000K. The refresh rate? It’s like the light’s got its own dance moves, from a slow waltz at 600Hz to a frenetic disco at 25kHz. And those beam-framing shutters? They’re like the light’s very own set of curtains, ready for a dramatic reveal.

With DMX channels more varied than your TV remote, and RDM for when you’re feeling too posh to push buttons, this light’s got you covered.

Dimming? More like a mood ring, with settings from a whisper to a shout, and strobe effects that could start a party—or end one. The dimming curves are like a rollercoaster for your eyes, and the 4-button menu with LCD display is like having a tiny robot butler at your fingertips.

PowerCON input & output ensure you’re always connected, and with 5-Pin and 3-Pin XLR inputs & outputs, it’s like this light is fluent in multiple languages, though not really. Fan modes for every occasion, because even lights need to cool off after showing off. And last but not least, a rear handle, because even the brightest stars need a helping hand sometimes.

The Virtuoso 1000 Profile is the talk of the town, and it’s stealing the spotlight for a mere £750, VAT included! Now, if you’re in the business of swapping out those old Source 4s, you’ve hit the jackpot because they’re as compatible as peas in a pod. But if you’re starting from scratch, prepare to shell out £366 for the versatile 15-30 degree or 25-50 Degree lenses. And for those who like their angles as fixed as a cat’s gaze on a laser pointer, the 19, 26, 36 or 50-degree lenses can be snagged for £162 a pop. It’s a lighting extravaganza!

Investing in a Gobo holder at £8.40 and an Iris for £48 each might just be the secret sauce for your Profile fixtures. They’re not just tiny trinkets; they’re the unsung heroes that can elevate your show from ‘meh’ to ‘wow’!

Washes

Next up it’s on to the wash fixtures. I’ve stayed with the eLumen8 gear here too, for the same reasons as before, colour matching etc.

Cyc & Foot Lights

When it comes to illuminating the Cyc, I’ve opted for the Virtuoso 700 CYC IP HEX—quite the tongue-twister, but an IP65-rated gem nonetheless.

This dazzling device boasts a two-year warranty and is armed with a 180W six-colour LED (RGBALC), casting a beam as wide as 70° and delivering a luminous 1,425 Lux from a distance of two meters. With a colour rendering index (CRI) of 93, it parades a colour temperature spectrum from a cosy 1,800K to a blistering 10,000K. Fancy a flicker-free performance? The refresh rate is at your command, with options ranging from a soothing 1.2kHz to a buzzing 25kHz. It even sports an ‘eyebrow’ for that extra flair in beam shaping, alongside a smorgasbord of DMX channels (pick from 3, 7, 8, 10, 13, or 20) and RDM for those who like to take control from afar.

Hold your horses, because there’s even more to this extravaganza! Imagine a safety footlight that’s like a lighthouse for your toes, preventing any midnight mishaps. Then there are the mood modes – ‘auto’ for when you can’t make up your mind, ‘master’ for when you’re feeling bossy, and ‘slave’ for… well, let’s not go there. Next, feast your eyes on a kaleidoscope of 48 preset colour macros, dimming capabilities that glide from the shadows to the spotlight, and a strobe that’s more in sync with the music than your dance moves. It’s got an adjustable foot that’s more adaptable than a chameleon on a rainbow, and a quick-release omega clamp for those moments when you need to disappear faster than Houdini. Command this light show with a quartet of buttons and an OLED display that’s as clear as your grandma’s spectacles, all powered by powerCON TRUE1 connectors and IP-rated 5-Pin XLR ports. And it stays as cool as a cucumber with its convection cooling system. What’s not to adore? I’ve found these beauties over at 10 out of 10 for a mere £612.

Flood

I’ve opted for the CYC600 RGBW 150W COB Cyclorama Wash as my go-to flood light. This little light show in a box comes with a reassuring 2-year warranty and boasts a 150W quad-colour COB LED that’s as vibrant as a peacock.

With a beam angle wider than a Broadway stage, it shines at 1,138 Lux from 2 meters away. It’s got a refresh rate that could give the Flash a run for his money at 4.2kHz, and you can pick your DMX channel flavour from 4, 6, 8, or 10.

It’s got more modes than a Swiss Army knife, including static colour, colour mix, and even a sound active mode that’ll dance to your tunes. The dimming is smoother than a jazz solo, ranging from 0 to 100% with 16-bit finesse and four curves that could rival a rollercoaster.

Plus, it’s got extras like a variable strobe to throw your own disco, a bracket that’s ready for any rigging challenge, a user-friendly 4-button menu with an LCD display, powerCON connectors that snap together like Lego, and 5-Pin XLRs for when you need to get serious.

The icing on the cake? Those eight-leaf barn doors sport a gel frame to add just the right dash of colour, paired with a fan that’s the epitome of coolness, and RDM to boss around your lights from the comfort of your chair. And guess what? I found these snazzy fixtures for a cool £498 at 10 out of 10.

Moving Heads

Moving head fixtures are the life of the party in any theatre lighting setup. They bring a dash of pizzazz to the stage with their dynamic twirls and swirls. I always ensure that if I’m adding these movers to a rig, they outshine the stationary lights so they can make a statement with their effects. There’s nothing more disappointing than a scene bursting with light and energy, accompanied by a show-stopping musical number, only to have the movers lost in the luminous shuffle.

And let’s not pigeonhole these versatile performers to just musical extravaganzas; they’re also fantastic for crafting varied textures across different scenes. For those blustery moments on stage, a subtle pan or tilt chase from the moving heads can whip up a storm of authenticity.

Chauvet Pro – Maverick Force S Profile

Keeping an eye on the budget, I’ve opted for the Maverick Force S Profile by Chauvet Pro – a solo act in my lighting setup. Why go for a whole band when one rockstar can handle the gig, right? I chose the profile model over the beam, spot, or wash because it’s like the Swiss Army knife of lights – it does a bit of everything! Sure, it might not throw a wash as wide as a Broadway smile, but it’s got enough tricks up its sleeve to dazzle the crowd.

This little powerhouse packs a punch with a 350 W LED. The profile fixture is as feature-rich as a billionaire’s smartphone. It’s got CMY colour mixing that could paint rainbows, a colour wheel that spins faster than a DJ, zoom optics for when you need to spotlight the lead singer, and framing shutters that dance around like they’ve got moves. Not to mention the two Gobo wheels – one’s a mover and shaker, and the other’s as steady as a statue. The 16-bit dimming is smoother than a jazz solo, and the variable CMY colour mixing system is like having an entire paint set at your fingertips.

For the tech-heads, it’s got DMX, WDMX, sACN, and Art-Net, giving you more control options than a spaceship’s dashboard. RDM’s there for remote addressing and troubleshooting, because who has time for tech tantrums? The zoom range goes from a pinpoint 4.5° to a wide-open 41.6°, so whether you’re highlighting a whisper or a shout, you’re covered. The iris, 5-facet prism, and frost features are like the special effects crew of your lighting show. And those 4 blade framing shutters with dual-axis movement? They’ve got more angles than a geometry textbook.

It’s got a True 1 compatible power input for those who appreciate a good, solid connection. There are three setup menu presets and preset sync for cross-loading to multiple fixtures, making setup as easy as pie – and who doesn’t love pie? Plus, a USB slot for those all-important software updates, and a battery backup display that knows which way is up, no matter how you hang it. So, lights, camera, action – let the Maverick Force S Profile take the spotlight!

The Design

With the theory, venue, and fixtures all sorted, it’s time to get creative and design a dazzling lighting rig that’ll make the audience need sunglasses!.

Front of House

We’ll kick things off at the front of the house. Our first task is to set up the rigging at the very back of the auditorium (LX1), hoisting the truss up to mingle with the ceiling. It’s like giving the rafters a new metallic friend to hang out with!

Opting for six Virtuoso 1000 Profiles equipped with a 15-30 degree lens is a brilliant choice. This setup promises to deliver ample coverage for both the front and centre stage areas, ensuring that every dramatic pause and grand gesture is bathed in the perfect spotlight.

And now, let’s shine a spotlight on the dynamic duo of square trusses! On LX2, we have the fabulous four Maverick Force S Profiles, taking centre stage like the stars they are, with a supporting cast of four Virtuoso Profiles, standing guard two by two, like the most loyal of stage knights. These Virtuosos aren’t shy, casting their radiant glow downstage, while the Maverick Force S Profiles show off their lighting prowess with a smorgasbord of effects, from mesmerizing movers to dramatic spotlights, and even a gobo light show that’ll knock your socks off. Over on LX3, another fearless foursome of Virtuosos takes the reins, bathing the Center Stage in light so brilliant, that not even the sneakiest of dance moves could escape detection. For the grand finale, each of the eight Virtuosos comes equipped with spectacular 25-50 degree variable zoom lenses, ensuring every moment is captured in perfect clarity.

The Stage

Alright, let’s take the spotlight to the stage! The first stop on our lighting adventure is the LX10 bar. Here, we’re going to whip up a straightforward wash using a trio of Virtuoso 2000 Fresnels. Picture this: the middle Fresnel is like a spotlight superstar, aiming upstage to bathe the centre stage area in light. Meanwhile, the other two Fresnels are playing a game of ‘opposites attract’, focusing on the far sides of the stage, opposite to where they’re perched. This clever trick throws in some cross-light action, ensuring our performers pop rather than end up looking like cardboard cutouts. And because good ideas are worth repeating, we’ll mirror this dazzling setup on LX12.

Ladies and gentlemen, brace yourselves for the spectacular siblings, Lx11 & LX13, the twin titans of illumination! Marching in with the same dazzling demeanor as LX10, these two are about to light up your world. But wait, there’s more! Each twin is packing a punch with six Maverick Force S Profiles, parading three on each side of the central Fresnel like peacocks at a fashion show. I’ve always had a soft spot for odd-numbered mover groups – they add that sprinkle of showbiz sparkle, standing out like a lone flamingo in a flock of plain pigeons. And here’s the twist – the Fresnels on LX13 are taking a bow, pointing downstage, daring to shine where others shy away, all without dimming their brilliant blaze.

The last stop on our grand tour of overhead hanging points is the illustrious LX14, positioned right before the Cyc like a knight before his castle. This spot is reserved for the exclusive purpose of illuminating the Cyc in all its glory. We’ll be suspending a baker’s dozen of the Virtuoso 700 CYC fixtures, ensuring the Cyc is bathed in a uniform glow from edge to edge. This setup ought to envelop the Cyc from head to toe in light, but should you feel the urge to throw in a bit more dazzle, you could always plant a few fixtures on the ground. However, for the time being, I’ve opted to keep things strictly aerial.

Ground Package

With the aerial fixtures sorted, it’s time to dive into the ground package. First up, I’m doubling down on the cyc bar, placing it right on the stage’s front edge, aimed at our unsuspecting performers. It’s the perfect way to bathe them in light, and if you’re in the mood for some theatrical chills, it’s just the ticket for that eerie, spine-tingling ambience.

The Cost

Ah, the moment of truth in rig design—the dreaded cost analysis! Fear not, for I shall spare you the nitty-gritty and present my trusty table, outlining the cost per unit, the number of fixtures, and the grand total for these dazzling illuminators. But hold onto your hats, because this rollercoaster doesn’t cover the twists and turns of additional accessories like network switches, ethernet cables, power cables, safety chains, or clamps. We’re talking pure, unadulterated fixture fun here.

Product	Cost	Qty	Total
eLumin8 Virtuoso 1000 Profile	£750.00	14	£10,500.00
eLumen8 Virtuoso 1000 Profile 15-30° Zoom Lens	£366.00	6	£2,196.00
eLumen8 Virtuoso 1000 Profile 25-50° Zoom Lens	£366.00	8	£2,928.00
eLumen9 Virtuoso 1000 Profile Gobo Holders	£8.40	14	£117.60
eLumen8 Virtuoso 1000 Profile Iris Diaphragm	£48.00	14	£672.00
eLumin8 Virtuoso 2000 Fresnel	£732.00	62	£45,384.00
elumin8 Virtuoso 2000 Barndoors	£45.00	62	£2,790.00
eLumin8 Virtuoso 700 CYC IP HEX	£612.00	13	£7,956.00
Chauvet – Maverick Force S Profile	£5,676.00	16	£90,816.00
Total			£163,359.60

£163,359.60 might sound like you’re funding a small moon landing mission, but for kicking off a venue from the ground up, it’s not too shabby. If you’re not too keen on splashing out that much, consider ditching some of those fancy Maverick Force S Profiles. Axing all 16 can slash your bill down to a more palatable £72,543.60 for the bare-bones setup. Sure, you could flirt with other moving heads lacking LED colour mixing, but beware, you might just find yourself in a long-term relationship with higher running costs.

I’m all ears for your opinions! If you had the power to revamp a medium-sized theatre, what would be your masterstroke? Would you give the design a dramatic makeover? Perhaps give the moving heads the boot and bring in an army of fixed fixtures? Or maybe switch up the brands and types of fixtures for a fresh look? I’m eager to hear your creative ideas. Feel free to leave a comment right here or on the social media post that guided you to this stage.