Theatre guides 24 May Recent years have seen riggers in the entertainment industry adopting rigorous standards for hoisting. Phil Bishop reports Unsurprisingly, perhaps, it was the Germans that took the lead. Lifting and rigging equipment is just part of this code. It also covers structures, foundations and other technical matters. It is not enshrined in law - adopting BGV-C1 is entirely voluntary - but its adoption is generally required by insurance companies in Germany, and therefore it has effectively become an industry standard. It has increasingly become the standard to which entertainment industries in other countries work.
|Published (Last):||11 June 2013|
|PDF File Size:||3.26 Mb|
|ePub File Size:||4.90 Mb|
|Price:||Free* [*Free Regsitration Required]|
Theatre guides 24 May Recent years have seen riggers in the entertainment industry adopting rigorous standards for hoisting. Phil Bishop reports Unsurprisingly, perhaps, it was the Germans that took the lead. Lifting and rigging equipment is just part of this code. It also covers structures, foundations and other technical matters.
It is not enshrined in law - adopting BGV-C1 is entirely voluntary - but its adoption is generally required by insurance companies in Germany, and therefore it has effectively become an industry standard. It has increasingly become the standard to which entertainment industries in other countries work. There are certain important differences between the hoist demands of BGV-C1 and general industrial standards familiar to the rest of the lifting industry.
This is because in theatres hoists are often used to move loads over performers on stage and then hold them in place. A C1 chain hoist is defined as one that can be used to move and hold loads above people. A D8 chain hoist can be used to lift loads during set up, with the area underneath cleared of people. A D8 Plus chain hoist can hold loads over people, but not move them, with no secondary safety component to hold the load in case of hoist failure.
A C1 hoist has a design factor of 10 to 1 instead of 5 to 1. It has four position limit switches two working, two emergency. There has to be a system to detect when the chain is slack. This is so that is two or more hoists are lifting in tandem, if one chain becomes slack, another hoist may become overloaded as it runs away with the load. There has to be a double brake. Finally, if the clutch is a load bearing clutch, the overload protection must be provided through an additional method and not through a slipping clutch.
Perhaps unsurprisingly, it is the American company that is most critical of BGV-C1 and it has had to make substantial modifications to its Lodestar in order to meet the German code. To meet the design factor requirement, a BGV-C1 compliant Lodestar has its safe working load halved. For slack chain detection, a load cell is added to the hook and the hoist cuts out when a slack chain is detected.
It meets BGV-C1 but in cutting out the slack hoist, any overload on other hoists is increased. Before joining Columbus McKinnon in , Black — who is British - worked for many years in the theatrical rigging industry. There is no common sense there. It creates more problems than it solves because in a dynamic situation you always have hoists that are almost running free. Black, however, has further criticisms. He is also critical of the braking requirements, for example, because they do not say where the brakes should be or how strong they should be.
We can make the brake out of butter if we want. Black thinks the emphasis on brakes in general is misplaced. Brakes are not why you drop loads.
Black also questions the value of the time, money and effort that goes into meeting BGV-C1. But as worldwide market demand rose, Columbus McKinnon needed to offer it on a worldwide basis. Its criticisms, therefore, are not based on an inability to compete in the market. It corrects one of the weaknesses of BGV-C1, putting emphasis on overload monitoring leading to automatic shutdown rather than slack chain underload detection.
It is much more specific than BGV-C1, Black says, adding that it is starting to become adopted in non-German speaking countries. Manufacturers do not want to be producing three or four different versions of the same chain hoist, so unless Germany adopts FEM, the rigorous demands of BGV-C1 will remain the standard to which chain hoist manufacturers default to, Black says.
The reason is that BGV-C1 has been worked out by a team of specialists out of many different branches and offices Berufsgenossenschaften, theatre people, TV and studio engineers, stage makers and many more. It may be different for each specific requirement. Talking about slack chain prevention, it is not necessary to include slack chain detection in any single hoist but essential if loads are guided in a frame or tower where they could jam or if many hoists carry the same load, especially in case of bad visibility.
He adds that in due course, perhaps in five years, FEM 9. It is indeed generally much less prescriptive than the comparable European documents except with regard to such procedural criteria as inspections, documentation, training programmes and quality assurance.
He is also on the ESTA committee producing standards for both chain hoist and wire rope hoists. This work has already been in the pipeline for seven years, he says.
In March this year it was finally concluded that it was not possible to produce a single document for both wire rope hoists and chain hoists because of differences of opinion over wording and over safety factors. Instead, separate documents are being produced for each.
I have seen a totally different approach in the US, based not on risk assessment but on product liability.
LG Entertainment Chain Hoists to BGV C1 German Safety guidelines - Lifting Capacity 500kg - 1000kg