I noticed at Disney that they were using diachronic plates in most of the stationary indoor S4's. Guess they got tired of changing gels! Sounds interesting, but I am sure expensive to use in 6 inch frames, and many of their 64's (8 inch frame) were that way as well. I would suspect for the rest of us that they would be too fragile. Anybody else using them on here?It was a conference at the convention center and the pars were used to uplight fabric columns. After about 2 hours, I got called from the interior decorator that had been hired to design the fabric, flowers, and decorative lighting. She said that the lights weren't purple anymore.
JD, the word is "dichroic."I noticed at Disney that they were using diachronic plates ...
Certainly a greater upfront cost, but once one figures materials and labor costs to replace color media over the five year or more lifespan of the attraction, glass and/or dichroic filters become cost effective. As for their fragility, dichroic filters are no more breakable than an S4-PAR lens, but it's less disheartening to see a $6 lens broken than a $100 filter....Guess they got tired of changing gels! Sounds interesting, but I am sure expensive to use in 6 inch frames, and many of their 64's (8 inch frame) were that way as well...
Most architectural installations using dichroic filters always specify either a top hat or egg-crate/hex louvers to prevent the audience from seeing this adverse effect. Depending on the fixture type, it can be observed in the beam as well.
As odd as it seams, the VNSP (and even ACL's) actually produce the most even output across the surface of the lamp. This is due to the fact that the lamp is working more like a beam projector, using mainly the reflector to direct light. (Of course beam projectors have the lamp front blocked and pars don't.) The wider floods use a lens much like a headlight. The high refraction ridges disperse the light, but also serve like magnifying lenses (at close range) and produce hot spots on the gel. Although there are some exceptions, I must admit that I observed the same lifespan issues when using the large par based shows popular back in the 80's.Counter-intuitively, I've found color media fades/burns faster in WFL/MFL than in NSP/VNSP. Who can explain that?
I thought most Rosco colors used their "extrusion" process that they advertise so much.Apollo and Lee gel are double coated polyester for color consistancy, while Rosco and GAM are dyed polyester. The Lee HT consists of polycarbonate material, which has a higher resistance to warping and color migration.
(Edit- Wow Footer, you know when I sit down and open the 'Booth, now don't you?!)
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http://www.rosco.com/us/filters/roscolux.asp#manufacturedI thought most Rosco colors used their "extrusion" process that they advertise so much.
You missed the very first line at the top of that webpage Footer....http://www.rosco.com/us/filters/roscolux.asp#manufactured
From what I can gather, that is how the supergel is made, the traditional rosco gel is made differently.
There are many reasons you could have lost your color. If you were using the S4 PAR EA fixtures, and they were being used as up-light, all the heat from the lamp and the IR and UV radiation were passing through the gel. You would have nearly 100% of the gel damaging heat and radiation hitting the gel. The S4 PAR MCM would have removed some of the radiation from the light and may have saved you some gel, but since heat rises, you would still be directing the rest through the gel. Also, if you picked a "nice" purple, it was probably very saturate, with a low transmission rate, so the chances of it burning through are greatly increased, especially because you probably ran the lights at very near to full intensity.
I doubt it was a case of old gel. If your local supplier really keeps 20+ sheets of each color in stock all the time, there is probably a high demand for color, and they probably sell it. Also, I have a huge color inventory at my theatre, much of it has been sitting around for years and years, and it doesn't seem to matter if color is new or old, if the color is going to burn through, it happens to the new and the old alike. In my experience anyway.
Supergel and roscolux are made in the exact same manner. Supergel is the european name for roscolux. Rosco however does use a deep dying process to make their cinegel and storaro gel ranges.http://www.rosco.com/us/filters/roscolux.asp#manufactured
From what I can gather, that is how the supergel is made, the traditional rosco gel is made differently.