Conventional Fixtures Favorite Gel Color
- Thread starterLightingChild88
- Start date
houseoutgo
Member
Soxred93
Active Member
I don't have a favorite gel color. I reevaluate me gel choices at every production I do. However, on the vanilla light plot, we use R3410 and L202 for most lights.
kiwitechgirl
Well-Known Member
I love L156 and use it quite often - I particularly like it as a warm backlight, best on a light coloured set. I've also used it as frontlight when it's been a "candlelit" scene - the opening of The Nutcracker being the instance I can remember.
You would have to go there, wouldn't you, kiwitechgirl? Talk about opening old wounds!
See http://www.controlbooth.com/forums/lighting/6847-chocolate-gel.html .http://www.controlbooth.com/forums/members/kiwitechgirl.html
kiwitechgirl
Well-Known Member
You would have to go there, wouldn't you, kiwitechgirl? Talk about opening old wounds!
Excellent! Nothing like opening up old wounds....but on that note, I once had an argument with a lighting designer who insisted on putting .3ND in all his frontlight because he "liked the colour". I argued until I was blue in the face that he should just dim them back and would get the same effect, but no! Not my budget that was being wasted....
Tex
Active Member
R99-Chocolate
I like to use this to make the environment "different". It's such a non-standard color that if you hang it from non-standard angles with break ups it makes for a very interesting look.
I used it in Eurydice for the "real world" and it contrasted very nicely with the cold steel blue of the underworld. Great, unexpected color.
I like to use this to make the environment "different". It's such a non-standard color that if you hang it from non-standard angles with break ups it makes for a very interesting look.
I used it in Eurydice for the "real world" and it contrasted very nicely with the cold steel blue of the underworld. Great, unexpected color.
I named my favourite gel Seymour, for no particular reason other than, to me, he looks like a Seymour. Some said he was a burnout when I rescued that little piece of R51 from the discard bin those many years ago. They find him a bit cool but to me he is warm and cheery, but I guess it depends on the company he's with. He's fickle that way.
... now where did I put my tinfoil hat ...
... now where did I put my tinfoil hat ...
epimetheus
Well-Known Member
I named my favourite gel Seymour, for no particular reason other than, to me, he looks like a Seymour. Some said he was a burnout when I rescued that little piece of R51 from the discard bin those many years ago. They find him a bit cool but to me he is warm and cheery, but I guess it depends on the company he's with. He's fickle that way.
... now where did I put my tinfoil hat ...
Nice...
I'm seeing the beginnings of a one act play here...
NevilleLighting
Active Member
R358, hands down my fav. Does great things to sets and costumes. Takes a lot of candlepower to make it work.
Rosco 107.
No longer made this specific gel, but I love the Jean Rosenthal "White Light" Theory in deign as a base in concept and than adding color to it as needed or tinting for McCandless concept overall base in angle. (And you get them magic moments right it don't matter the color - its the beam angle that is most perfect in moment to concentrate on in getting right. Proper beam angle for the lighting... could color it nothing and it is still if proper and correct... just right. Less about the gel, more about the proper moments and lighting of it in correct beam angle to it.) "The Magic of Light" a testiment of as it were in my reflecting on it and possibly wrong in actual steps; light the stage first in white light, do your dimming etc. than as needed or effect go to coloring the fixtures where you need help and effect on stage. Jean Rosenthal as trained by McCandless in school was of the "halogen lamp" era and should be considered "modern" in design of normal stage lighting (short of movers added in) in concept for completing or furtering the McCandless standard in lighting design. Very important book she wrote.
Rx107 sort of a blue frost sort of acted like a color correction filter for those lamps dimmed but also in need of frosting. When I designed shows I found it my most useful gel though adimdditly rare in other people using it. I would still prefer it now as a gel in combining as it were a sort of color correction with frost in many instances.
(Edited way down)
Lots more of course in design and I'm shure many would differ in concept but it's my opinion presented. First design the beam angle, gel than rectify as needed to make inventory work out in keeping in mind them primary moments you need "specials" for. Gel... 107 was great for me in being useful. Other than that, depende on the show in no preferences and an open swatch book that depended on the show itself if I use any gel at all at times.
No longer made this specific gel, but I love the Jean Rosenthal "White Light" Theory in deign as a base in concept and than adding color to it as needed or tinting for McCandless concept overall base in angle. (And you get them magic moments right it don't matter the color - its the beam angle that is most perfect in moment to concentrate on in getting right. Proper beam angle for the lighting... could color it nothing and it is still if proper and correct... just right. Less about the gel, more about the proper moments and lighting of it in correct beam angle to it.) "The Magic of Light" a testiment of as it were in my reflecting on it and possibly wrong in actual steps; light the stage first in white light, do your dimming etc. than as needed or effect go to coloring the fixtures where you need help and effect on stage. Jean Rosenthal as trained by McCandless in school was of the "halogen lamp" era and should be considered "modern" in design of normal stage lighting (short of movers added in) in concept for completing or furtering the McCandless standard in lighting design. Very important book she wrote.
Rx107 sort of a blue frost sort of acted like a color correction filter for those lamps dimmed but also in need of frosting. When I designed shows I found it my most useful gel though adimdditly rare in other people using it. I would still prefer it now as a gel in combining as it were a sort of color correction with frost in many instances.
(Edited way down)
Lots more of course in design and I'm shure many would differ in concept but it's my opinion presented. First design the beam angle, gel than rectify as needed to make inventory work out in keeping in mind them primary moments you need "specials" for. Gel... 107 was great for me in being useful. Other than that, depende on the show in no preferences and an open swatch book that depended on the show itself if I use any gel at all at times.
Last edited:
Seeing as how Ms. Rosenthal died in 1969 and tungsten-halogen lamps didn't become prevalent in the theatre until the mid-1970s at the earliest, I'd have to disagree with this characterization. Furthermore, I can find no references in The Magic of Light. Rosenthal, Jean and Wertenbaker, Lael. Little, Brown and Company, 1972, to halogen lamps or even axial ERSs. Thus I would classify her as one of last of the "original" Lighting Designers, rather than the first of the "modern" ones. And my opinion is the book is over-rated.
If I remember correctly, Lee224 is close to what RX107 was.
Last edited:
epimetheus
Well-Known Member
Similar threads
