@JonCarter Definitely worked with Cinemoid. NEVER heard or read of Cinabex. Definitely worked with real gel. Recall it arriving packed with a layer of tissue paper separating every sheet to prevent sticking and transference of colors. Remember occasionally receiving an order rolled rather than flat and packaged in a cardboard tube usually with a couple of inches sticking out either end. Recalling the problems if / when either or both ends got wet. In my area and time, it was often sent by mail and delivered to your door by your normal mail delivery person. On a rainy day you watched like a hawk for the delivery of your mail, prayed it had been kept dry and opened the door with your hands at the ready before the delivery person sat it in the puddle on your porch. Opening a roll with one or both ends wet was a BIG problem as the ends of multiple sheets were often fused together and extreme care was required to separate sheets without ripping. Quality tours would commonly re-gel between performances on matinee days and re-gelling at the end of an evening performance in prep' for the next day was common rather than bringing an entire crew in an hour prior to doors. You'd often load two frames of the same color in your carbon Supertrouper with the road spot op' telling you when to start using the second matching frame. If all six different colors were needed on a given performance, you'd often have extra frames gelled and at the ready to be swapped into your lamp. Changing back light gels at intermission was commonplace.
Think back @JonCarter to the days of travelling water follies shows touring by rail car(s) carrying their own deep pool and high-diving towers. In my area they toured through every second or third year and played outdoors in our football stadium. Gelling your arc Supers atop a scaffold during a light drizzle expected to end by, or shortly after, show time, managing to keep your gels dry while loading them into your lamp then hanging your jacket over your boomerang and facing your lamp out of the wind in order to have some hope of having colors by the time they were needed. The Supers were usually running the less efficient, but much more durable in case of rain, polished metal reflectors as opposed to the optically superior silvered Pyrex glass reflectors. Only once did I have a silvered glass reflector shatter when a drop of rain managed to find its way in mid cue with the arc running and following. I'm remembering one sharp crack like a small caliber gun shot followed immediately by the reflector hitting the bottom of the lamp house in three pieces. Light out the front, of course, was gone in less than a second.
Different times @JonCarter different times.
Toodleoo!
Ron Hebbard.
