well there are other ways of movin the follow spots like with the school im at we have 3 of the inteligent lightin follow spots that we dont do manualy but we program the follow spots with our board and then all we do is hit go and as long as the actors are on they mark it looks great
1. I believe the only current product allowing an ML to automatically follow a performer is the Wybron Autopilot II, which starts at ~$35,000.I was at a dinner theater a few weeks ago and they had a couple of moving heads on the light truss in front of the stage that they were using as follow spots remotely. The light it threw was not as bright as a regular follow, but it was adequate. Has anybody done this and how do you go about it? I would like to use two follow spots for my stage but I need a follow that throws over 150’ and that put the price tag way above my budget. ...
We DO realize that the original post was over five years ago, right? Okay then, that being said, a couple of points I don't think have been mentioned...
1. I believe the only current product allowing an ML to automatically follow a performer is the Wybron Autopilot II, which starts at ~$35,000.
2. There is no moving light that offers intensity or resolution making it appropriate to replace a manual followspot at a 150' throw.
In conversations with followers of this ethic two others have been mentioned :Only real advantages I could see to this system would be the ability to use all the functions of the ML, and be able to dim them at the same time...
In conversations with followers of this ethic two others have been mentioned :
A) you get the "live" feel of a truss spot while keeping all the ML gags.
B) You reduce the operators tasks down to Just Pointing The Light, no iris, no color
moves,no fades/restores. This makes some touring folks very happy.
That scares the crap out of me, you never know what kind of quality you'll get with local spot ops, they could be off in la la land when the light comes up and looks very stupid pointed at a wall. I'm a firm believer that the spot op should have control of the spot being on or off.
That scares the crap out of me, you never know what kind of quality you'll get with local spot ops, they could be off in la la land when the light comes up and looks very stupid pointed at a wall. I'm a firm believer that the spot op should have control of the spot being on or off.
Or have a stage manager who actually calls a heads up once or twice. Most the time there is an issue between communication and not that its all the spot ops fault. I've been involved with several shows where the stage manager didn't bother to warn us that the lights are coming up and we should be on our actors. short story, they were fired because they felt we should know the one off show just as much as they did.
I aggree. It's to easy now for spots to not listen. Having no control of the beam other than focus, would be (IMO) more aggravating then anything.
I don't where you guys are getting spot ops from but the area I live is small and I have at least 15 ops I would put on anything. When I go to other areas I see some excellent ops. I work one venue where that isn't true but they are state employees that have no business anywhere near a spot.That scares the crap out of me, you never know what kind of quality you'll get with local spot ops, they could be off in la la land when the light comes up and looks very stupid pointed at a wall. I'm a firm believer that the spot op should have control of the spot being on or off.
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