My school is looking at purchases some new followspots. we have a throw of about 100ft and can spend about 3,000 on two. We are looking at the times square lighting QF1000s followspot. Is this a good brand? We are a high school that does a musical every year and many other shows.
Getting new spotlights (hopefully)
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Les
Well-Known Member
The QF1000 isn't a bad light, but for that price you could get two Altman Comets which are built a little better and possibly a noticeable step brighter (I'm not sure about the 100' throw, but you should get 80 footcandles@100' based on the photometrics, here). With the Times Square unit, you'd only get between 44 and 46 footcandles@100' based on their spec sheet.
The Comets MSRP at around $1,000 each so you'd be within budget.
Many will argue that you can set up a Source Four on a stick for a lot less money (especially if you already use Source Fours). It is a very good option, but I will throw it out there that in a high school environment, many users will have their first encounter with a followspot on the units you have. I'd personally spring for something a little more "industry standard". Even though the Source-Four-on-a-stick concept is pretty popular, conventional followspots still dominate by a long shot (no pun intended), and it's always good to learn on something similar to what you might be using in other venues.
Of course the Source-Four-on-a-stick could always be converted back to a conventional when needed but let's face it. That would probably be a pain swapping back and forth all the time, especially if last minute during tech-in. Plus, if you have a budget outlined, you'd might as well use it up - especially if it's earmarked exclusively for followspots.
Lycian has their Midget line which is a step above Altman's Comet and 1000Q, but I haven't checked their prices in a long time. It might be hard to get them within your budget aside from the Clubspots, which I would not personally recommend for your application.
The Comets MSRP at around $1,000 each so you'd be within budget.
Many will argue that you can set up a Source Four on a stick for a lot less money (especially if you already use Source Fours). It is a very good option, but I will throw it out there that in a high school environment, many users will have their first encounter with a followspot on the units you have. I'd personally spring for something a little more "industry standard". Even though the Source-Four-on-a-stick concept is pretty popular, conventional followspots still dominate by a long shot (no pun intended), and it's always good to learn on something similar to what you might be using in other venues.
Of course the Source-Four-on-a-stick could always be converted back to a conventional when needed but let's face it. That would probably be a pain swapping back and forth all the time, especially if last minute during tech-in. Plus, if you have a budget outlined, you'd might as well use it up - especially if it's earmarked exclusively for followspots.
Lycian has their Midget line which is a step above Altman's Comet and 1000Q, but I haven't checked their prices in a long time. It might be hard to get them within your budget aside from the Clubspots, which I would not personally recommend for your application.
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Are you for the qf1000s or against it?
My vote is for Altman Comet or Lycian Midget. I've used both in school situations. Bright and we'll made. Don't go cheap! A cheap follow spot will be dim. The whole point of a follow spot is that it's bright and stands out from the other lights. A cheap follow spot is therefore pointless.
What make and model are your existing spots? If you want to use them together with the new ones it would be best to match specifications. You don't want to have two lights that look substantially different from the other two.
What make and model are your existing spots? If you want to use them together with the new ones it would be best to match specifications. You don't want to have two lights that look substantially different from the other two.
It looks like a Strong Trouperette might be in your price range too.
Before you go too much farther get out a measuring tape and make sure you know the exact distance to the stage. 100' is a really long throw for a typical school theater. I bet your distance is more like 75 or so. 25' makes a big difference in what you can buy.
Before you go too much farther get out a measuring tape and make sure you know the exact distance to the stage. 100' is a really long throw for a typical school theater. I bet your distance is more like 75 or so. 25' makes a big difference in what you can buy.
We currently have 2 Altman 1000q. We are planning on getting rid of these because they are in bad condition
Something to keep in mind are the lamp replacement costs. The Lycian Midget that gafftaper mentioned has a HMI Discharge lamp, which looks to be around $175 for a replacement while the Altman Comet uses 82v MR16 lamps ranging from $10 to $20. Even though the discharge lamp has a longer burn time, it is not as economical as the halogen lamps. I believe the consultant specified discharge lamp followspots at the venues I worked at were replaced with Lycian SuperClubSpots to save on lamps and possible issues with a discharge lamp in a school setting.
Personally, I prefer the cooler light that a discharge followspot provides to help make it pop against the many halogen sources on stage.
Personally, I prefer the cooler light that a discharge followspot provides to help make it pop against the many halogen sources on stage.
Another option could be the great performance fs300 spot. It would stretch your budget right to the end, I've seen it for around $1,500 so it wouldn't leave room for shipping. We've got two and at 100 feet you'd have 100 foot candles.
http://www.greatperformance.com/fs300.htm
Via tapatalk
http://www.greatperformance.com/fs300.htm
Via tapatalk
Our school uses 2 Altman Comets. Originally they were located at about 120 ft, and were acceptable. When I relocated them to 95ft, it gave me a really good result, and a little extra distance upstage if needed. They are easy for kids to use, comparatively cheap on bulbs, and are not crazy to maintain.
Hello Mr. / Ms. zmb;
You've raised one of my favorite points from a few decades back.
If you can remember back to the old Ultra-(D)Arcs with the, from memory, MARC-300 and 350 lamps and associated power supplies, warm up times, varying color temperatures. Phoebus was possibly the manufacturer.
When debating the correct, matching, two to four follow spots for your local 2,000+ seater, comparing the operating costs per hour between carbon Supers, the trendy new xenon Supers and Ultra Arcs. How efficiently they worked from head shots, through half bodies, full bodies and on out to full floods, how steady they were at 168' to the apron from above the second balcony to the DSC apron plus your 50' stage depth, yada, yada . It was always a giggle to compare initial costs, operating costs per hour and total costs amortized over the at least 20 year life of a Xenon Super purchased new, installed once and rarely moved more than a few inches from where it settled in.*
I'm not suggesting this is directly relevant to a school situation but you've definitely raised an issue not always considered.
Hmpf! I'll bet there are many excellent bargains to be had on used carbon Supers, let's hope no one sells the school a bill of goods.
With apologies Mr. / Ms. zmb for hi-jacking / side-tracking your post.
Toodleoo!
Ron Hebbard
*[Addtion by DL]
Addition appreciated with thanks!
Derek, do you recall what year Strong was running that ad?
[ EDIT by DL: Oh sure, the ONE time I scan an ad and don't watermark it you ask that question.
Luckily, I found the citation. Summer 1984. ]Toodleoo!
Ron Hebbard
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As TD for a middle school, I highly recommend the Altman Comets. They can be found for about $1100 if you search carefully. I use them in a venue that has a 100ft throw--and yes I measured the distance from balcony to DS apron--100 ft. I always spec them with the 410 watt FXL lamp. The students find them easy to operate.
The other advantage of these units is the low current draw (approx 4 amps). Inevitably a teacher will insist on plugging both follow spots into the same outlet. If you have a follow spot that takes a 1k lamp, you will blow the breaker if both are powered on the same circuit. This is not an issue with the Comets.
In order to get the best "highlight effect" from these units, I dim most of the stage down to ~40% or less. Typically I use them for musical numbers. The cue call sequence is : followspot fade IN on first note of the song; stage lights to 40%...At end of song: stage lights restore after ~2 sec of applause, then followspot fade OUT.
Note: to enhance lamp life, the lamp should remain ON for the entire show. Use the top handle (triangular mechanical douser) to fade the light in and out as required.
Overall--a simple but effective light.
The other advantage of these units is the low current draw (approx 4 amps). Inevitably a teacher will insist on plugging both follow spots into the same outlet. If you have a follow spot that takes a 1k lamp, you will blow the breaker if both are powered on the same circuit. This is not an issue with the Comets.
In order to get the best "highlight effect" from these units, I dim most of the stage down to ~40% or less. Typically I use them for musical numbers. The cue call sequence is : followspot fade IN on first note of the song; stage lights to 40%...At end of song: stage lights restore after ~2 sec of applause, then followspot fade OUT.
Note: to enhance lamp life, the lamp should remain ON for the entire show. Use the top handle (triangular mechanical douser) to fade the light in and out as required.
Overall--a simple but effective light.
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BillConnerFASTC
Well-Known Member
Can we agree that these units are what you use when you don't have much funds, but that it would be desirable to be able to punch through a 50 fc wash with 300-400 fc follow spot? I do feel bad that the arts are so poorly funded and so many of you have to cope with insufficient funds, but I hate to loose all sight. We specify almost exclusively Robert Juliat followspots and most high schools get a pair of 1200 watt hmi units like the Topaze. (We make sure there are 4 separate 25 or 30 amp circuits to cover these and the chance that some event may rent two more.)
Just looking for perspective of this is best we can afford and what would be the right choice.
Just looking for perspective of this is best we can afford and what would be the right choice.
"We specify almost exclusively Robert Juliat followspots and most high schools get a pair of 1200 watt hmi units like the Topaze. (We make sure there are 4 separate 25 or 30 amp circuits to cover these and the chance that some event may rent two more.)"
I have no problem with that, and would do anything to have that capability. But as the OP stated he only had a $3K budget for (2) units, the choice of Topaze (MSRP $8K+/each) is impossible.
I have no problem with that, and would do anything to have that capability. But as the OP stated he only had a $3K budget for (2) units, the choice of Topaze (MSRP $8K+/each) is impossible.
Hello Mr. Conner;
In support of your Juliats, and without judgements as to any constraints.
Met my first Trouperettes in 1967 then ran exclusively carbon and / or xenon Super's for decades from 1973 onwards.
Always while comfortably ensconced in a suite of air conditioned follow spot and projection booths.
Six rooms in the suite plus a dedicated washroom.
Entrances directly from the attic on both ends, 25 step spiral from the second balcony lobby if needed.
Never having to mingle with the patrons or thrust through the madding crowds.
A dedicated private path to work for us denizens of the dark side.
Chalk boards, for cheat marks, conveniently located just above the windows for each spot.
Comfy stools at just the right heights.
In short; spoiled rotten, living in luxury, sneering at truss spots and spitting on 'spots on sticks'.
Other than touring a Colortran from Toronto to Calgary, to Sanfrancisco to Broadway's Shubert, I was the stereotypical IA Strong snob.
I demeaned myself, when a production was short, and spent two 14 hour days hugging a Juliat at the front of the second balcony.
Out of our 'Royal Boxes', such suffering.
I WAS BLOWN AWAY!!!
Didn't do the in, rolled in for the rehearsals and live to tape with full house.
I'd be at the lamp for my 10:00 a.m. call.
Via DMX, it was already remotely powered up and ready to rock with its dowser closed about 30 minutes prior to my arrival.
For two days, they were fired around 9:30 a.m. and powered down by midnight.
The dowsing was handled remotely by the LD; not necessarily to my liking but conveniently override-able should the need arise.
My job; be there on time, point and follow as required, walk away with the last B/O.
NO WAITING ABOUT FOR COOL DOWN!!
Fired ALL DAY, much of the time into a closed dowser yet you could lean your arm against anywhere you'd want to without that immediate searing pain.
The Juliat folks clearly have a handle on ventilation, materials, conduction and transference of heat, all of this with little spill to annoy patrons 6' away in several directions coupled with fan noise at a level perfectly acceptable in the situation. No large diameter hoses above exhausting carbon and ozone to the exterior either. Not bad Mr. Juliat, not bad at all.
Handled like a big, heavy Super with the mass / inertia at rest thing going for it.
Bright, steadily so, with no noticeable CT differences across the four of them.
Interesting to catch site of your spot in a monitor, interesting as to how different the looks appeared live vs. via the cameras.
IMPRESSIVE!!!
Stayed for the out.
On the out it was a fraction of the weight.
The lightweight folding base afforded the rock solid stability of the much heavier Super bases, yet struck and packed like a dream.
Smaller, lighter, easier to deal with physically when schlepping and, visually, at least as bright as our xenon Supers.
No idea of the model; they came, I ran one for two days, they left.
No Mr. Connor, you'll get no negatives from me.
(Hmpf! How's that for an inadvertent double / triple negative?)
Toodleoo!
Ron Hebbard
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