Or, I will forget to take pictures.
I ended up using the S4P (happy, Derek?
with the reverse-installed
lens, clamped to our stage-left
catwalk stairs about head height. It thus has some down-tilt -- about 10 degrees -- to
clear the draperies in that window, and sprays enough of the bed to make the director happy when combined with the blue downfills, which it's capable of being a stop or two brighter than when both are at 100%. It and everything else are gelled our
stock dark blue, which I don't have a number for.
The special ends up having *just* enough collimation that you can see the windoe stiles on the wall, though they're a
bit soft; I think I like it better that way.
My 'floor lamp'
cue is three pars above the front pipe; double amber on the outsides and rose in the middle, crossing over.
My 'full'
cue is a bunch of ungelled S4's for overall fill; they won't run at 100% which will warm them up some.
And one other special, framed to light up the entry door (the director otherwise doesn't want a lot of light up the back wall, so the Bad Guy entering through the sliding doors is in relative darkness. I have an upstage white fill
cue with 4 S4's on the second and third pipes to do some facial fill there, and we'll see how it goes in the Q2Q tomorrow.
My thanks to all for the suggestions, even though I ended up going with something simpler. Everyone has to start somewhere; I guess a 'meat and potatos' director is the best place.
Photos still to follow.
