Thoroughly Modern Millie gel

Stoldal

Active Member
For Thoroughly Modern Millie what gel would be better for a wash, R339, R342, or R343, because of the lack of fixtures we only really have 2 colors that we can use, plus a few specials.


Thanks !!
 
I might go with a R33 or R333 because the other pinks that you want are very pink. What are you doing with the other set of lights?
 
i was advised to use R364 for the other set of lights, the musical is based in the 1920s.
 
i was advised to use R364 for the other set of lights, the musical is based in the 1920s.

Well, the sun has not changed in the last 90 years, but light sources sure have. Really, with what you have, R333 and R364 will give you a decent warm/cool system that you can play with. You won't be "taking" anyone places, but at least you can do something.
 
This is the first production that the director has really let me use anything but amber. Next year we move in to a theatre where i can do more then something simple. Really what i have is about 20 par cans, 12 NSP and about 6 WFL, some Altman lekos and 24 dimmers.I am open to any ideas.
 
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I think that i would go R333 in the one set and R65 or R67 in the other. By mixing the two you should be able to get a nice shades of varying warmth.

Don't go 364 its more purple and won't mix as well
 
R364 is a really saturated color for a wash light. It's not going to go really well with 333 either I would not think, as their relative trans. levels are 32% and 71%. You will end up with a very blue stage with both washes at full. With a gel as saturated as R364 I would also be a little worried about burn-through if you are using 1Kw PARs. Something closer to R66 might give better results.

Of course you may also want to keep in mind that blue and pink are not complimentary.

Clark
 
ok, Could any one give me some ideas of what i should use. i have listed what i have, and i am open to any ideas.

Please and Thank you!
 
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If you're set on the R333, I would probably go with R66 as stated, but that's only from a quick browse through a swatch book and off the top of my head.

If I were designing I would look at the colors in the set as well as costumes before making any decisions. Your choice of colors for lighting can really mess with their colors if you are not careful. For example I would not consider the R333/66 combination to be feasible if there is alot of green in either the set or costumes since that combination will be very weak in that part of the spectrum.

Clark
 
R364 is a really saturated color for a wash light. I disagree. It's not going to go really well with 333 either I would not think, as their relative trans. levels are 32% and 71%. Disagree again. You will end up with a very blue stage with both washes at full. Absolutely incorrect. Try it and see for yourself. With a gel as saturated as R364 I would also be a little worried about burn-through if you are using 1Kw PARs. I've never burned through any color less saturated than R68 with any PAR lens. Something closer to R66 might give better results. Too much green to be flattering to any skin-tone.

Of course you may also want to keep in mind that blue and pink are not complimentary. True, but mixing to white probably isn't the desired effect.

Clark[/quote]Clark, please run a spell check on your signature.


R33 or R34 and R64 are a very standard frontlight combination for dance. Since you're limited in fixtures and control, I'm assuming both of these will be straight on FRLT and you're not trying to do McCandless? (Over-rated in my experience and opinion--read Howard Bay's book, Stage Design, 1974.) I've never been happy with R333, not sure why, unless it's just that I don't like many of the R3XX colors. Too new.

It may make more sense to just use one color of FRLT, maybe R02 or N/C, and use the saved fixtures for crosslight, sidelight, or backlight, if you have the positions.

...If I were designing I would look at the colors in the set as well as costumes before making any decisions. Your choice of colors for lighting can really mess with their colors if you are not careful. ...
This is a very good point. We really can't provide exact colors unless you provide us with costume swatches and painter's elevations. Also your lighting concept, as well as the director's visions for the production.
 
With a gel as saturated as R364 I would also be a little worried about burn-through if you are using 1Kw PARs. I've never burned through any color less saturated than R68 with any PAR lens.

I beg to differ... It all depends on how long it runs. L201, L202, and L203 have all been bleached out in PAR-64s at work. Though, we do long shows (~3+ hours) that have long runs (often ~8+ weeks).



--Sean
 
I beg to differ...No you don't. (It's now Tuesday and we're still being argumentative?) We actually agree. It all depends on how long it runs. L201, L202, and L203 have all been bleached out in PAR-64s at work. Though, we do long shows (~3+ hours) that have long runs (often ~8+ weeks).--Sean
Correction to my post. When he said "burned-through", I was thinking Bonanza, not fading color--which in inself is a misnomer--I'm going to try to use "bleached out" if I can remember from now on.

I have a cut of L142 that was removed from a 750W 65Q 6"FS that is almost clear (more like R54) except for under where the frame was. This cut was removed after 1.5 years from an Equity musical. The odd thing is the fixtures (3) were only used for one song per show, so about 40 minutes per week, at FF. Maybe it was the fault of the Kliegl PerformerII and the TTI Analog dimmers.;)

The OP is talking about a High School production, so most likely six performances total. He's also only talking Roscolux, which in my opinion and experience, is less prone to bleaching than Lee Filters.

Did you know that Lee color can be rubbed off with a cloth and plain water? Try it with a cloth diaper and you'll see color transfer. Rub long enough on both sides and you'll get a clear substrate.
 
Sorry, when I said "burn-through" was simply referring to color loss. I agree, bleach out would be a better term. With as mid-range of a color as the R64s are it should not be a huge problem. But with 1Kw PARs in a wash fixture - which presumably would be on for much of the show - it is at least something to consider. 6" Fresnels can be a *****, I've had one burn through (and this time I do mean 'Bonanza' - smoke and all) a cut of R24 in about 2 min.

derekleffew said:
Absolutely incorrect. Try it and see for yourself.
Tried it this afternoon, it did produce a noticeably blue tone with both instruments at full, but it did not look as bad as I expected. Also tried it with R66, which I didn't mind though it was a bit pale. Something in between might be nice, I rather liked it with R362.

Clark
 

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