Thanks Derek!!!
Any chance of finding some spots for parts or one that works for sale any where?
@SteveB offered some good possibilities.Any chance of finding some spots for parts or one that works for sale any where?
Drop Jack an email; if anyone knows, he does.Special Lighting Solutions
Jack Schmidt
phone (712) 326-9246
E-Mail: [email protected]
Training and repair of followspots, primarily Strong
@Les in the Dallas area posted a picture of a ton of Supers abandoned in an area in Texas--there might have been Troupers in there as well. https://www.controlbooth.com/threads/running-power-around-an-arena.32675/#post-287460
Thanks Les, maybe luck will be on my side? Dallas is 9 hrs across TX from me but I will be there twice next month. This gives me a good place to start!
I would like to thank all of you for your help so far, it is great to find a resource such as this!!!
Always liked the frames at the top. My original Troupers and Supers had them there. There is a trend away from that. One practical reason for front mount frames is that gel life is much greater. Many of the top mount designs put the gel in the optical path where the beam is more focused. I have a Lycian 575 HMI (1209) that is rough on gels. On the flip side, the old supers were top mount but not at a focused beam point so they did ok with gel life.
??? I've never seen a Trouper, carbon or xenon, with color anywhere other than on the front.Always liked the frames at the top. My original Troupers ... had them there. ...
??? I've never seen a Trouper, carbon or xenon, with color anywhere other than on the front.
@SteveB offered some good possibilities.
Member @DaveySimps from Michigan told of a rental company near him wanting to rent Troupers out not so long ago. https://www.controlbooth.com/threads/carbon-arc-followspots.32767/
The carbon Supers were comfortably rounded so your left wrist didn't get kinked wrapping around the hard-ninety corner to keep your left hand positioned for the iris, guillotine / upper- lower masking and dowser. Having the boomerangs on top also placed them much closer to the tilt pivot making it easier to remain perfectly still, zero bouncing, while you were snapping, or smoothly rolling, color changes mid-song. The large, heavy, glass UV filter's mount was fitted with an appropriately balanced spring specifically chosen to balance the weight of the glass. A carbon super could easily out shine a 1K6 xenon when doing tight, 1/2 body, chest and up, shots. At our throw distance, we'd normally be running a flat field with the trombone all the way forward and the iris closed in just a hair so we could still pull in for a head only shot. If you were running waist up most of the night, you could focus for a slightly hotter center and beat the pants off a 1K6 xenon. Our 'soft seater' venue had four Supers positioned as xenon, carbon, center-line, carbon, xenon. When tours rolled in, the touring spot op' would always DEMAND a xenon presuming they'd be brightest for his "star". We'd put an experienced op' on the other xenon but our most experienced op's would grab the two carbon supers and delight in blowing the socks off the road op'. I'd normally throttle back a carbon to match the road op's xenon but, if they were behaving like total anal orifices, I'd let 'er rip 'til the road op' cried uncle asking me to douse down a little so he could see his light, or so his star performer wouldn't appear dim in comparison to a nearby lesser god. I'll admit to being biased but, so long as they were well maintained, I'd pick a carbon super over a xenon every time.How many of you classic lighting people remember that large UV rondel for use with carbon arc followspots?
If you're operating arcs with silvered glass reflectors (rather than polished metal reflectors) outdoors, keep an eye peeled for rain, no matter how light. I recall working with four arcs outdoors in the round from four sides when a tiny sprinkle of a shower rolled through. All it took was a single rain drop finding its way to the top rear of a reflector which instantly shattered leaving us with zero light for the folks on that side. This was the official opening night of a local shopping mall. It was a tight budgeted, spots only, thirty minute show. As there was zero rain forecast, the producers had made no provision for any sort of tent over / around any of the spots. They'd advertised their starting time as nightfall and had zero other lighting. Losing that one spot just into the performance left one entire side in the DARK.We are an out door show so venting is not an issue with us. We have 9 other small standard spots as well, but nothing can come close to the wonderful light a carbon arc will throw in our pool! We would like to keep as many as we can, years ago all 12 spots where arcs, that would have been a sight to see.
Yup. Trombone out, on a long throw you could then adjust the gap to give you a center hot-spot that would blow away the newer xenon's. Loved the old carbon supers. The upside and downside of that is that the talent of the op would make or break the performance of the spot. You ended up with "star" operators that everyone else had to aspire to beThe carbon Supers were comfortably rounded so your left wrist didn't get kinked wrapping around the hard-ninety corner to keep your left hand positioned for the iris, guillotine / upper- lower masking and dowser. Having the boomerangs on top also placed them much closer to the tilt pivot making it easier to remain perfectly still, zero bouncing, while you were snapping, or smoothly rolling, color changes mid-song. The large, heavy, glass UV filter's mount was fitted with an appropriately balanced spring specifically chosen to balance the weight of the glass. A carbon super could easily out shine a 1K6 xenon when doing tight, 1/2 body, chest and up, shots. At our throw distance, we'd normally be running a flat field with the trombone all the way forward and the iris closed in just a hair so we could still pull in for a head only shot. If you were running waist up most of the night, you could focus for a slightly hotter center and beat the pants off a 1K6 xenon. Our 'soft seater' venue had four Supers positioned as xenon, carbon, center-line, carbon, xenon. When tours rolled in, the touring spot op' would always DEMAND a xenon presuming they'd be brightest for his "star". We'd put an experienced op' on the other xenon but our most experienced op's would grab the two carbon supers and delight in blowing the socks off the road op'. I'd normally throttle back a carbon to match the road op's xenon but, if they were behaving like total anal orifices, I'd let 'er rip 'til the road op' cried uncle asking me to douse down a little so he could see his light, or so his star performer wouldn't appear dim in comparison to a nearby lesser god. I'll admit to being biased but, so long as they were well maintained, I'd pick a carbon super over a xenon every time.
BTW; There were smaller diameter / lighter weight glass UV filters for the Troupers as well but they were an ugly kludge of a thing that bolted on to the outer face of the boomerang holder and were hardly intended for smoothly rolling in.
I'll quit drooling and get back in my cave now.
Toodleoo!
Ron Hebbard
Edited to correct "blowing the socks of" to blowing the socks off.
Can't say I ever had one shatter while running even with rain, but re-trims did at least two in over the years. Had two spots with metal and six with glass. Glass always seemed a bit brighter, but that may have been the power of suggestion.If you're operating arcs with silvered glass reflectors (rather than polished metal reflectors) outdoors, keep an eye peeled for rain, no matter how light. I recall working with four arcs outdoors in the round from four sides when a tiny sprinkle of a shower rolled through. All it took was a single rain drop finding its way to the top rear of a reflector which instantly shattered leaving us with zero light for the folks on that side. This was the official opening night of a local shopping mall. It was a tight budgeted, spots only, thirty minute show. As there was zero rain forecast, the producers had made no provision for any sort of tent over / around any of the spots. They'd advertised their starting time as nightfall and had zero other lighting. Losing that one spot just into the performance left one entire side in the DARK.
Lesson learned: As much as I prefer the silvered glass reflectors, when outside it's polished metal or some form of protection from the elements.
Toodleoo!
Ron Hebbard.
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