The new thread on labeling gel
- Thread startergafftapegreenia
- Start date
I feel like we beat this topic to death 2 years ago, but here's our system as well as what's posted in our gel room:
We use both paper Safety Frame Mainframes for all ellipsoidals and metal for the S4 Pars and ParNels, which burn the paper frames. Since the majority of our events are one-off's we use brass paper fasteners. I've recently started having trouble getting the 3/4" length and could only order 1/2", which are somewhat more difficult to use.
The reason I label visible is to be able to distinguish the colors when pre-loading. It's hard to tell an R80 from an R74 quickly when they sit on a table about to go in an instrument, so labeling in a corner where the number is hidden wastes time and allows errors. I understand a designers choice to not see numbers from the audience viewpoint and if I worked a space that was other then proscenium I would go with designers preference. But since we're a proscenium space and the lighting units are generally not visible, it's not an issue. We also pre-load prior to focus so the electrician in the lift or on the catwalk isn't wasting time finding the single R74 in a bag of color for 27 units. If the LD want's to focus N/C, the focusing electrician can temporarily pull the gel. In a similar manner I do not pre-load diffusion as you usually end up pulling it anyway to do the intial focus, then adding it as required. I keep possibly 100 cuts of R132 and R119 framed and ready to go.View attachment Color Frame for gel room.pdfView attachment Whitman Lighting Color Cutting Requirements.pdf
We use both paper Safety Frame Mainframes for all ellipsoidals and metal for the S4 Pars and ParNels, which burn the paper frames. Since the majority of our events are one-off's we use brass paper fasteners. I've recently started having trouble getting the 3/4" length and could only order 1/2", which are somewhat more difficult to use.
The reason I label visible is to be able to distinguish the colors when pre-loading. It's hard to tell an R80 from an R74 quickly when they sit on a table about to go in an instrument, so labeling in a corner where the number is hidden wastes time and allows errors. I understand a designers choice to not see numbers from the audience viewpoint and if I worked a space that was other then proscenium I would go with designers preference. But since we're a proscenium space and the lighting units are generally not visible, it's not an issue. We also pre-load prior to focus so the electrician in the lift or on the catwalk isn't wasting time finding the single R74 in a bag of color for 27 units. If the LD want's to focus N/C, the focusing electrician can temporarily pull the gel. In a similar manner I do not pre-load diffusion as you usually end up pulling it anyway to do the intial focus, then adding it as required. I keep possibly 100 cuts of R132 and R119 framed and ready to go.View attachment Color Frame for gel room.pdfView attachment Whitman Lighting Color Cutting Requirements.pdf
Last edited by a moderator:
One brad per frame, or two? If one, upper right- or left-hand corner? Why aren't all your frames black on both sides?
Most companies I work with mark in the middle but I do mostly arena shows so we are either doing trusses already loaded or we are pulling gels from files. We had a situation where a lighting company was supplying the instruments for a touring theatre production and two stagehands were tasked with cutting gel for him. The problem was they missed the memo on marking them as they were cut. This was problematic fo two reasons, there is a pile of gel with colors such as 1/2 blue, 1/4 blue and others too close to call. The second was there was a combo of Rosco, Gamco and Lee, plus there was some substitutions due to unavailability.
When you have colors that close you really need to be able to read the numbers while hung.
When you have colors that close you really need to be able to read the numbers while hung.
One brad, any corner, though most right handed people put it in the upper left, go figure. No need for 2 brads as it's a one-off and is only there to keep the gel with the frame. Using 2 brads does help prevent some warping, or crinkling of the darker filters, which speeds up color fading, so if the show's running a long time use 2 brads or paper frames with staples.
Older frames are Ye Olde Type - silver as supplied from Strand/Century or Altman way back when, since painted black one side - efficiency here, as the audience only see's that side, but it means I have to remind the crew - Black Out !, just like you remind the sod lawn crew "Green UP".
I was recently talked into buying some newer style all black metal frames that have a larger opening that is supposed to work better with S4 Par Wides, not cropping the field. Trouble is I had to pay someone to pry apart the bottom of the frames as they were impossible to get the gel to slide in.
shiben
Well-Known Member
I noticed this too. Its a PITA.
techieman33
Well-Known Member
All our gel is labeled in the bottom corner with white china marker. There are still some older cuts though that were labeled with little avery stickers, they are mostly rosco cuts and labeled LUX xx. Other than those it's the standard R, L, G.
All of our gel is stored in a 4 drawer file cabinet. 2 drawers are for Rosco 1 is 1-50 (including the 318's etc.) and the other is 51- up. 1 drawer for Lee and another for Gam. From there there is drawer is organized with a hanging file for each color, and a standard file folder inside the hanging folder for each cut size.
All of our gel is stored in a 4 drawer file cabinet. 2 drawers are for Rosco 1 is 1-50 (including the 318's etc.) and the other is 51- up. 1 drawer for Lee and another for Gam. From there there is drawer is organized with a hanging file for each color, and a standard file folder inside the hanging folder for each cut size.
Les
Well-Known Member
My problem was that the ends spread just fine. It was that middle section that was painted shut or something. I couldn't get them open without something very sharp. These were frames for the Source Four Zooms. If I encounter them again (hopefully not), I'll remember the frame trick. Hopefully it'll work.
WooferHound
Well-Known Member
When I get frames that are pressed shut on the bottom, I run a larger sized flathead screwdriver through there and it spreads it out perfectly.
marshmolly123
Member
As a high schooler, I'm in the "as long as it's labeled..." category -- way too many people cut gel without labeling it. However, if given a choice, I'll label it so that it's visible when the gel is in the frame.
We also run into problems with people not writing the letter, too. I think because we use almost entirely Rosco, people assume that the letter is unnecessary. It gets confusing, though. People also assume all gel is Rosco, so sometimes I see an R201 floating around -.-
We also run into problems with people not writing the letter, too. I think because we use almost entirely Rosco, people assume that the letter is unnecessary. It gets confusing, though. People also assume all gel is Rosco, so sometimes I see an R201 floating around -.-
Last edited:
It depends for me...
In a school/volunteer setting, I'm just happy if they are marked at all and marked right (red R68s and pink L201s are always fun). Speaking of unmarked, I have several uncut sheets in stock for one group that are not labeled. Any ideas on figuring this out? The other stock is a combination of Rosco, Lee, Gam, Apollo... so even going through a swatchbook would be tough.
In a professional setting, it better be marked correctly, and preferably in the corner because I hate when numbers are visible to the audience.
In a school/volunteer setting, I'm just happy if they are marked at all and marked right (red R68s and pink L201s are always fun). Speaking of unmarked, I have several uncut sheets in stock for one group that are not labeled. Any ideas on figuring this out? The other stock is a combination of Rosco, Lee, Gam, Apollo... so even going through a swatchbook would be tough.
In a professional setting, it better be marked correctly, and preferably in the corner because I hate when numbers are visible to the audience.
genericcomment
Member
jstandfast
Active Member
It's very interesting to me that this discussion has ,thus far, been limited to the marking of color as type only. In great swaths of our world,
much more information is conveyed. At an opera rep company, for example, a piece of framed color found stray in a lift bucket might say:
Cav/Pag
2E-22
RX-361
Widely spread, of course.and avoiding the center of the piece but, nonetheless, a precise road map for where that color goes(and when).
much more information is conveyed. At an opera rep company, for example, a piece of framed color found stray in a lift bucket might say:
Cav/Pag
2E-22
RX-361
Widely spread, of course.and avoiding the center of the piece but, nonetheless, a precise road map for where that color goes(and when).
DELO72
Well-Known Member
That's why they invented Plots/Hookups/Schedules....
As both a former designer and M.E., I preferred the upper right hand corner of the gel. This way it was out of sight of the audience (my 1st choice as a designer/audience member), and also because it wouldn't get ruined early from the wax pencil in the hot spot of the beam. and if you had to go up to the unit you could still read it without removing the gel from the frame just by opening the top of the gel frame a little.
I don't know why anyone would put it in a lower corner, which just seems to be the worst possible solution all-around.
In my humble opinion, the gel is listed on the Channel Hookup, Dimmer Schedule, (and usually) the Plot, so having it show visibly on the gel itself when standing on the stage is kind of overkill. If you have to go up to where the gel is stored ANYWAY to pick up a new cut, you might as well just save the time by having the channel hookup in hand or nearby, and save yourself having to squint at a number that might be backwards or upside down...
Last edited:
