Design Pin spot with short throw?

[Molinero]

Hi all -- thanks in advance for helping a lighting hack.

I need to create a pin spot effect at extreme DL and DR (rest of the stage is dark), isolating two actors (maybe just faces) with the absolute minimum possible spill onto the stage behind them. Can anyone recommend a not terribly expensive instrument to accomplish this? Preferably something in the 500w range.

Also: throw is relatively short; the batten in front of the apron is maybe 20-25' away at a steep angle.

Thanks!

 

[RonHebbard]

Hi all -- thanks in advance for helping a lighting hack.

I need to create a pin spot effect at extreme DL and DR (rest of the stage is dark), isolating two actors (maybe just faces) with the absolute minimum possible spill onto the stage behind them. Can anyone recommend a not terribly expensive instrument to accomplish this? Preferably something in the 500w range.

Also: throw is relatively short; the batten in front of the apron is maybe 20-25' away at a steep angle.

Thanks!

Where are you hoping to lose the beam after it has lit the performer? a; Off stage in a wing out of site of the patrons? b; Into the deck and hoping to minimize bounce? c; Elsewhere? Please specify.
Remember you can improve the sharpness / reduce the flare of pretty much any ellipsoidal by the addition of a simple "donut" in the gel slot. Of course you can spend money and buy commercially available donuts in a few choices of hole diameters but I've often been in a time crunch and fabricated my own. (Plus I'm a cheapskate.) Matte black donuts work best but get hot in a hurry from all of the beam heat they're absorbing and holding back. I believe I've had my best success with simple black wrap cut to frame size and beginning with an easily cut hole centered on the beam. You may want to begin with a small diameter hole as you can always enlarge it. Assuming you're using two identical instruments, finesse one donut then copy it for its mate. I'll caution you against creating donuts using flat black paint over cardboard as the cardboard very quickly becomes a fire hazard as does black bristol board.
Donuts: Kind of like squinting marginally improves the sharpness of your vision at the expense of your field of view. In the case of using donuts in your ellipsoidals, you should see increased image sharpness (sharper shutter cuts and gobo images) at the expense of less light out the front resulting in having to increase dimmer levels and somewhat shorten lamp life. As with so many things in theatre, there are so many compromises to be made.
EDIT: I had a computer glitch at my end mid post. Needed to shut down, reboot and return to complete my post.
Toodleoo!
Ron Hebbard.

 

[ship]

Top hats on Leko's also are helpful. All leko's do the job but I remember the magic of a ACL, and have notions of ray light and beam projector. Last two would probably spill too much.

Somehow by some sort of fluke I wound up designing shows with a SeeFactor Rain Light PAR 64ACL c.1972 Neal Diamond Tour; Lamp:120PAR64/VNSP(6V. - ACL.) Sylvania #14987. This light is now part of the museum. PAR 64, Incd. VNSP 5̊ x 5̊, Gas Filled 120w/6v. There is lots of other ACL lamps out there.

 

[porkchop]

I would look at getting a drop-in iris for an ellipsoidal unit (http://www.citytheatrical.com/Products/2012/02/10/drop-in-irises) it's adjustable to your needs and can be used again in later shows. Looks like they run $100-150 new or about half that used depending on your desired fixture.

 

[RonHebbard]

Top hats on Leko's also are helpful. All leko's do the job but I remember the magic of a ACL, and have notions of ray light and beam projector. Last two would probably spill too much.

Somehow by some sort of fluke I wound up designing shows with a SeeFactor Rain Light PAR 64ACL c.1972 Neal Diamond Tour; Lamp:120PAR64/VNSP(6V. - ACL.) Sylvania #14987. This light is now part of the museum. PAR 64, Incd. VNSP 5̊ x 5̊, Gas Filled 120w/6v. There is lots of other ACL lamps out there.

Hi Bri'; I fully understand where you're going from the maximal punch / minimal flare POV but I suspect the O.P. is also interested in not having the patrons looking at a bright circle of light on whatever set is U.S. I gather the O.P. is hoping to find a fixture which will illuminate his performer's face, allow for whatever movement of the performer is required by the blocking as well as any movement of their head while they're emoting yet somehow disappear shortly behind the performer. This is why I asked where he would find acceptable for the continuation of the beam to fall and suggested a few possibilities to chose from. Possibly I've misunderstood the O.P.'s question but I strongly suspect he likely already has instruments in his inventory which, with a few affordable 'tricks' and accessories, will achieve pretty much the best he's likely going to achieve and at very little cost.
Who know's, possibly he has an unlimited budget and would prefer two PRG Bad boys in his orchestra pit shooting up, catching the face from 30 to 45 degrees either side of the performer's precise location and continuing on up vanishing out of site in the fly tower. Maybe he could use two more Bad boys, one in each wing, mounted at head height or slightly higher as cross lights and affording even greater modelling options. Somehow I suspect this may be a touch beyond his budget but who knows plus he may not even have an orchestra pit & / or fly tower.
@Molinero MORE INFORMATION PLEASE.
Good chatting with you again Bri', it seems like so long ago when you pointed me towards this place.
Toodleoo!
Ron Hebbard.

 

[Molinero]

Hi Bri'; I fully understand where you're going from the maximal punch / minimal flare POV but I suspect the O.P. is also interested in not having the patrons looking at a bright circle of light on whatever set is U.S. I gather the O.P. is hoping to find a fixture which will illuminate his performer's face, allow for whatever movement of the performer is required by the blocking as well as any movement of their head while they're emoting yet somehow disappear shortly behind the performer. This is why I asked where he would find acceptable for the continuation of the beam to fall and suggested a few possibilities to chose from. Possibly I've misunderstood the O.P.'s question but I strongly suspect he likely already has instruments in his inventory which, with a few affordable 'tricks' and accessories, will achieve pretty much the best he's likely going to achieve and at very little cost.
Who know's, possibly he has an unlimited budget and would prefer two PRG Bad boys in his orchestra pit shooting up, catching the face from 30 to 45 degrees either side of the performer's precise location and continuing on up vanishing out of site in the fly tower. Maybe he could use two more Bad boys, one in each wing, mounted at head height or slightly higher as cross lights and affording even greater modelling options. Somehow I suspect this may be a touch beyond his budget but who knows plus he may not even have an orchestra pit & / or fly tower.
@Molinero MORE INFORMATION PLEASE.
Good chatting with you again Bri', it seems like so long ago when you pointed me towards this place.
Toodleoo!
Ron Hebbard.

I should clarify -- you asked some good questions I neglected above. Here's some additional info:

1. All I have in stock are some ancient Altman 6x9s on a batten that's far closer to the stage than I'd like and 5" fresnels for top lights.
2. I would prefer to have the beam hit the deck and minimize splash, but our stage is blonde-stained hardwood. Fortunately, the finish is so worn out that it's basically uncoated.
3. Set upstage will be painted black.
4. Distance from the actors at extreme DL and DR (apron) to the upstage scenery will be about 20' (shallow stage). Actors will be about 25' apart.
5. At this point in the play, the actors will be stationary and will deliver their speeches primarily out to the house.
6. FYI: We're doing "Rosencrantz and Guildenstern are Dead". This is Rosencrantz's "I'm relieved" and Guildenstern's "Now you see me, now you --" moment at the end. I am trying to create the opportunity for the tragedians to exit in the dark and be replaced by the dead cast of "Hamlet" with as short a blackout as possible.

Thanks for the feedback -- looking forward to more!

 

[Les]

Perhaps making some aperture gobos for your 6x9's would get you headed in the right direction. Basically, take a gobo slot-sized sheet of clean ~16-22 gauge steel (I'd suggest aluminum, but I've known 360Q's to melt it), drill a hole in it, and see how it looks. You will probably need to experiment with different sizes until you get what you want.

Caution: The gobo is liable to become red hot while in use. Allow plenty of time to cool before handling. You can also buy aperture gobos, but this is cheaper and should work just as well.

You could also try making "donuts" for your fresnels by cutting a hole in something that will fit in the gel frame. I suggest blackwrap, aluminum foil, or aluminum flashing (something that can take a lot of heat). You're going to be a bit out of the focal point, so results will probably be limited, but it's worth experimenting with. Same as the 360Q aperture gobo, the hole size will take some trial and error. In my mind, this should be loosely similar to the effect of using barndoors.

 

[seanandkate]

From a cost effective standpoint, I would use two of your Altmans, cut a gobo out of pie plate that has a small hole in the centre of the gate that will give you the size of spot you need at 20-25'. If you don't have a holder, make the 'holder' as part of the pie plate as well. Make sure that you don't have a hot centre on the Altmans, or you will notice your spot getting bigger each night. ;-)

 

[ship]

High and slightly down stage lighting for a specific acting area with a gentle intensity support from front and side should isolate a Leko spotting from above. No real need for pie tins if you have an Iris for the fixture.

 

[Molinero]

Thanks, y'all -- I really appreciate the advice. I'm the only one in our theatre dept. at my school, and my tech expertise is scenic -- so I appreciate all the help I can get!

I think I'm going to experiment with the pie tins (or scraps of sheet metal). If that doesnt' work, I may have to have the actors step upstage and hang the fixtures from the stupidly placed box booms.