Automated Fixtures 1 Moving Light
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Les
Well-Known Member
If you only get one, get a Source Four Revolution and intend on it being more of a refocusing special/effects projector, not a flash-n-trash generator.
In general, one moving light = about useless, but I can see where a single S4 Rev can be useful because it actually covers several points on the Gafftaper Method, depending on which modules you buy.
Whichever you do, get a tungsten source, not an arc source. One arc light in a sea of tungsten stage lights would be ugly and stick out like a sore thumb.
In general, one moving light = about useless, but I can see where a single S4 Rev can be useful because it actually covers several points on the Gafftaper Method, depending on which modules you buy.
Whichever you do, get a tungsten source, not an arc source. One arc light in a sea of tungsten stage lights would be ugly and stick out like a sore thumb.
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Les
Well-Known Member
Okay, let me retract that then.
Go for a VL1000 Tungsten.
I would fear that a Mac 700 would be much too bright (given it's an arc source) for most school theatres. The VL1000 has a better range of zoom also, not to mention it has more theatrical features.
I'll also say that maybe 'ugly' was too harsh of a word to use. I can see how in some cases it would be exactly what you want, but for a single moving light in a rig of conventionals, there are probably more situations than not that you would want it to blend in. I think that in most cases, it would look ugly, especially if you were using it as a refocusing special. I'm sure there is color correction available on the 700, but that would just add to programming time in a lot of cases.
Go for a VL1000 Tungsten.
I would fear that a Mac 700 would be much too bright (given it's an arc source) for most school theatres. The VL1000 has a better range of zoom also, not to mention it has more theatrical features.
I'll also say that maybe 'ugly' was too harsh of a word to use. I can see how in some cases it would be exactly what you want, but for a single moving light in a rig of conventionals, there are probably more situations than not that you would want it to blend in. I think that in most cases, it would look ugly, especially if you were using it as a refocusing special. I'm sure there is color correction available on the 700, but that would just add to programming time in a lot of cases.
Yes, but you've to start somewhere, and the 700 while nice is a bit our of our budget. Any other ideas?
As opposed to retyping my long winded response on Color Tempature sources and moving lights in general I'll just link it. http://www.controlbooth.com/forums/blogs/grog12/22-another-mods-view-gafftaper-method-part-1.html
JChenault
Well-Known Member
If you are doing mostly theatrical pieces, I would suggest you want a fixture with a tungsten source ( blends better with what you have) and shutters. The two fixtures I am familiar with that have these are the ETC Revolution, and the VL 1000.
Based on what I have seen, I would probably take the VL1000. It has CMY mixing instead of a color scroller, and you can put in more gobos than you can with the Revolution.
Now what you are going to get with a single unit is more in the realm of the ability to have a refocusable special than a light that the audience will see move. IE if you try to do flash and trash you will be disappointed. But a good refocusable special front of house , or on the first electric ( depending on throw) can be quite useful.
I read Grog12's post, and while I agree with most of what he said, I don't agree with wanting an arc unit if you only have one or two units. For me, the ability to blend outweighs the 'pop' issue - especially if you have just one unit. ( Now if I get enough to hang a bunch of movers to work as onstage down / back light - I will likely change my opinion).
Re control - If it is a single unit, and you have the channels, I would just start by controling the thing on your conventional console. I think it gives you a better sense of how it all works. As you get more movers you can either purchase a new console to control everything, or something to just control the movers.
Based on what I have seen, I would probably take the VL1000. It has CMY mixing instead of a color scroller, and you can put in more gobos than you can with the Revolution.
Now what you are going to get with a single unit is more in the realm of the ability to have a refocusable special than a light that the audience will see move. IE if you try to do flash and trash you will be disappointed. But a good refocusable special front of house , or on the first electric ( depending on throw) can be quite useful.
I read Grog12's post, and while I agree with most of what he said, I don't agree with wanting an arc unit if you only have one or two units. For me, the ability to blend outweighs the 'pop' issue - especially if you have just one unit. ( Now if I get enough to hang a bunch of movers to work as onstage down / back light - I will likely change my opinion).
Re control - If it is a single unit, and you have the channels, I would just start by controling the thing on your conventional console. I think it gives you a better sense of how it all works. As you get more movers you can either purchase a new console to control everything, or something to just control the movers.
What control console will you be using? I've never used a Revolution. I like and use the VL 1000AS; I would probably like the VL 1000TS also (never used it, I simply put a flavor of CTO in the AS's colorframe). However, both take 27 channels, and using shutters on something other than an EOS(family)/HogIII/GMA/etc. is not fun. I hated every moment I spent using them on an Expression3; I'll never do that again. Express would be worse.
MAC 700 Profile or MAC 700 Wash?
BillESC
Well-Known Member
Using $ 4000.00 as a budget, you wouldn't necessarily be limited to one moving head if you look outside of the box.
Chauvet's new Q-Spot 260 LED is an impressive fixture feature wise, output wise and price wise.
11 or 14-channel DMX-512 LED moving yoke
Pan: 540°
Tilt: 270°
Color wheel:
8 colors + white
Rainbow color spin at variable speeds
Gobo wheel 1:
Gobo shake
9 gobos + open
Gobo wheel spin at variable speeds
Gobo wheel 2:
Indexed, rotating gobo wheel with gobo shake
7 slot-n-lock gobos + open
2 glass, 5 metal
Gobo wheel spin at variable speeds
3-facet rotating prism
Variable electronic strobe
Variable electronic dimmer (0 ~ 100%)
Remote fixture reset
255 user-programmable steps without DMX controller
Move-in-black for pan/tilt
Built-in automated programs
Built-in sound activated programs
High-powered, 60 W LED
User-selectable pan/tilt ranges
Automatic pan/tilt correction
Reset to factory settings option
User-selectable basic or advanced operating modes
Easy access door for gobo change
If Flash & trash is the intended application this may be the fixture, and you could own 4 of them.
Chauvet's new Q-Spot 260 LED is an impressive fixture feature wise, output wise and price wise.
11 or 14-channel DMX-512 LED moving yoke
Pan: 540°
Tilt: 270°
Color wheel:
8 colors + white
Rainbow color spin at variable speeds
Gobo wheel 1:
Gobo shake
9 gobos + open
Gobo wheel spin at variable speeds
Gobo wheel 2:
Indexed, rotating gobo wheel with gobo shake
7 slot-n-lock gobos + open
2 glass, 5 metal
Gobo wheel spin at variable speeds
3-facet rotating prism
Variable electronic strobe
Variable electronic dimmer (0 ~ 100%)
Remote fixture reset
255 user-programmable steps without DMX controller
Move-in-black for pan/tilt
Built-in automated programs
Built-in sound activated programs
High-powered, 60 W LED
User-selectable pan/tilt ranges
Automatic pan/tilt correction
Reset to factory settings option
User-selectable basic or advanced operating modes
Easy access door for gobo change
If Flash & trash is the intended application this may be the fixture, and you could own 4 of them.
Do you have any meaningful photometric data on them? How loud are they in operation?
BillESC
Well-Known Member
There is some fan noise but it's not too bad.
Here's the spec's:
Gobo 2 size: 25.95 mm outside, 19 mm image, 1.1 mm max thickness
Beam angle: 15°
Lux: 5,400 @ 2 m
Light source: 1 x 12,600 mA white LED, 50,000 hrs
Power and current: 120 V, 60 Hz; 150 W, 1.2 A (operating), 0.1 A (inrush)
AC power: Auto-ranging 100 V ~ 240 V, 50/60 Hz
Weight: 30 lbs / 13.6 kg
Size: 11.4 x 11.6x 19.1 in / 290 x 295 x 485 mm
shiben
Well-Known Member
Depends on the use. We are buying 1 ML so that students can learn how to take them apart, work with their guts, and fix them, along with the basics of how to patch/control a multi-parameter fixture. Its being bought for a specific class, not to be used in shows. In the grand plan, next year the theatre is buying LEDs and then year after that 8 moving heads. But for now, 1 ML is enough to start teaching students how to do basic functions.
1 ? don't. You could also go for (non moving) Wybron Nexera XL spots, delivering CMY mixing.
Probably most usefull for you is a fixture as suggested before: Vari*Lite VL1000TS, an ADB Warp ML or ETC Revolution.
From those I would go for: 1st VL1000TS, 2nd ADB Warp, 3th ETC Revolution.
Vari*Lite delivers the quality and options needed.
But if you want a fixture for special effects, flash n trash, always 'on top' of other light and with impressive zoom capabilities: the VL3500Q is the ultimate (but probably to expensive) fixture.
Probably most usefull for you is a fixture as suggested before: Vari*Lite VL1000TS, an ADB Warp ML or ETC Revolution.
From those I would go for: 1st VL1000TS, 2nd ADB Warp, 3th ETC Revolution.
Vari*Lite delivers the quality and options needed.
But if you want a fixture for special effects, flash n trash, always 'on top' of other light and with impressive zoom capabilities: the VL3500Q is the ultimate (but probably to expensive) fixture.
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