ETC ColorSource Spot Jr Announced

rsmentele

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Yea, You have to take into account cost of engine AND lens, so $1100 is pretty spot on. Just about 1/2 the price.
 

theatricalmatt

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Okay, since people are starting to dogpile me, I don't mind defending myself.

A quick Google search yields several dozen advertisements for CS Spots, with lens, for $1500 - 1650. That's a catalog price, and I'm certain that installations and other high-volume sales will be getting better prices.

The CS Spot Engine (no lens) goes for less, and established venues are likely to already have lenses to swap into them ... so that's also a false comparison.

Either way, no, the CS Spot jr isn't half the price of a ColorSource Spot. Maybe a Lustr.
 

MNicolai

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List price on the CS Spot is $1655, and the 25/50 Zoom is $640, which is $2295. Cut that in half and you're at about $1150. For all intents and purposes, ETC's advertising of 50% the cost is accurate.

Yes, there will be people who already own lenses but it starts to become hair splitting to consider how any particular venue might be situated already on a scrapyard of leftover tubes and bodies.

Aside from that, I imagine most of the markets this is targeted toward will have additional savings over the lifetime of the fixtures. They won't buy into extra tubes that'll be sitting around somewhere, the zoom knob allows for wider "frosting" without having to drop a filter in every fixture in the install, and if you can largely standardize on this fixture in a rep plot type scenario, you will save quite a bit on labor not having to rehang fixtures as often, swap between on-stage and catwalk positions, and all the associated time readdressing and recabling fixtures. The makes this fixture a pretty good multipurpose screwdriver -- especially for small theaters, ballrooms, houses of worship, museums, and such. It also avoids having a graveyard of extra lens tubes stashed in a closet somewhere. Not to mention it's half the weight which is both cheaper shipping for first-time purchase and safer/easier to work with on a ladder.

As with the original Jr lineup or with any other product, it will not be the perfect fixture for everyone and others may have good reason to spend the extra money to have the full-size CSSPOTS or S2's, but for those people for whom it's appropriate or who otherwise couldn't afford ETC, it's a very price competitive product with low cost of ownership.

Ultimately this puts it in a price bracket event at list price it competes with reputable vendors like Blizzard and American DJ. That's nothing to scoff at for something that comes with the ETC build quality and warranty.
 
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JohnD

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I don't want to sound like a Joe Pesci wiseguy, and I do mean this in the nicest possible way but there is a problem with Google shopping.
GoogleShoppingColorSourceSpot.PNG
SLSColorSourceSpot2.PNG
Since there is a drop down box for lens tube, you have to go to the website to see the actual price.
 

Mac Hosehead

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I look forward to see a shootout between an incandescent S4 Jr Zoom and this Colorsource. I am sure I'll get to see it when things open up more.

Good thing it's half the weight. I think I said "Holy Moly" the first time I picked up a Colorsource spot or something to that effect.
 

almorton

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Is there any likelihood of a (proper) fresnel in the line up? With the full size colorsource and lustr there is a fresnel adapter, of course, but it makes for a very large fixture. A small colorssource F would be a game changer for smaller venues (such as our own) where on stage we mainly use Strand Quartet F and Prelude F, with some Patt 123 still doing loyal service and even the occasional Minim to fill in. Larger fixtures (such as Cantata and Patt. 743) get used for bigger washes, but the 650W small fixture is our workhorse, and fits in well with our limited grid space. We can just about fit colorsource+fresnel adapter into our stage grid, but it's tight, and it's making us look to other manufacturer's alternatives.
 

macsound

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Not that it's an everyday usecase, but as we've seen with the uptick in any product you could possibly use at home or in a small studio, I presume smaller fixtures will become more and more prevalent.
When all the latenight crew went home, they went home to quarantine with their favorite techs because they had to do the show and they couldn't do it alone.

Kind of like how news anchors are given a broadcast camera and tripod that they're required to keep locked in their car in case there's relevant news, I'm predicting more entertainers, executives, pastors, motivational speakers, highbrow educators and political figures will build at-home studios in the next year or so.

I've seen people like the Bon Appetit test kitchen ship lights, cameras, iPhones, iPads and wireless lavs to their tv hosts so the show can continue working from home while the producers are remote via a zoom call. I've heard my local morning show radio station broadcasting from home after ripping out tons of equipment from the studio so they sound exactly the same while broadcasting from home. I predict that will all stay at their home. Little ol' me has also been doing it too. Filming at least one 5 minute video for an educational kids museum every week. I'm getting good at cutting gel to fit MR16s.

In any case, smaller lighting accommodates lower ceilings, pretty much something that all of us at home have and, in some of these cases, you might need to make a whole late-night set in someone's spare bedroom. Kino-flos fit and work perfectly in 8-9' ceilings but getting those amazing colors and gobos are rough when a source4 is 1/5 the height of your room.
 

MNicolai

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@macsound, not probably at the price point you were hoping, but I think that niche of small/portable film lighting fixtures in ETC's catalog is filled by ETC's fos/4 fixture. Though, in ETC fashion, they went the most expensive way possible with a premium set of features. Intended to compete with the other top color calibrated LED soft light sources by MFR's like Arri-- not the "here's a panel of LED's behind a diffusion filter with an intensity knob and a barn door" market.
 

macsound

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Oh of course not at the price points I want but there are lights out there that fit my scenario (fictional or not) that I think will see so much action, the distributors will wonder why and eventually that will trickle up to the manufacturers.
Not sure about that fos/4. For the price, industry people would stick to skypanels.
Or like my friend Alex here, Nanlite for $800. This is his home zoom setup.
EZ8xjJXVAAUeFyJ.jpeg
edit to make photo thumbnail instead of massive...
 

gafftaper

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I say "new and exciting things" when asked if I know anything because there are always fun non-product things happening (educational materials, anyone?).
I went with the classic that I heard directly from Fred Foster when I was asking about the lack of a low end product (which was filled by Element).
 

techteama

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Was looking at the spec sheet for Colorsource Jr and I notice it’s tested to UL1598, which I recall specifically says that it can’t be applied to “Stage and Studio Luminaries”, or “Amateur Movie Lights”. What is the intended application for them if not on stage, studio, or movies?

Also I took a look at the CRI and TM-30 scores and they are a bit low. Where do you think these would work well?
 

STEVETERRY

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Was looking at the spec sheet for Colorsource Jr and I notice it’s tested to UL1598, which I recall specifically says that it can’t be applied to “Stage and Studio Luminaries”, or “Amateur Movie Lights”. What is the intended application for them if not on stage, studio, or movies?

Also I took a look at the CRI and TM-30 scores and they are a bit low. Where do you think these would work well?
There is no prohibition to using cord-and-plug connected UL1598-listed luminaires in stage or studio applications. However, certain AHJ's may object to using UL1573-listed stage and studio luminaires in architectural applications. The main reason for this is now in the past: high surface temperatures on stage luminaires caused by high wattage tungsten lamps.

ST
 

macsound

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There is no prohibition to using cord-and-plug connected UL1598-listed luminaires in stage or studio applications. However, certain AHJ's may object to using UL1573-listed stage and studio luminaires in architectural applications. The main reason for this is now in the past: high surface temperatures on stage luminaires caused by high wattage tungsten lamps.

ST
Would this have been a limitation, for example, of using tungsten source fours for store retail lighting because of of the drop ceiling proximity?