Conventional Fixtures Spot light crash course

...I've got a great red dot pistol scope that works on the very same principle, it just doesn't have a magnetic base... yet... (I sense a project!!!)
I don't know how much residue gorilla tape leaves behind, but gaff tape is fine and accepted on a followspot, although try not to tape directly onto the lamphouse, due to the heat. But taping a sight near the front is fine. Bring a pair of gloves, (I like a pair of cotton gardening gloves), as the Douser, Chopper, and Iris handles of some fixtures get rather hot.

Now please answer a question for me, [user]Radiant[/user]. How does one set up a red dot scope on a gun? With the SpotDot on a followspot, prior to the show, one just shoots the beam of light somewhere offstage (if there's audience, you don't hit the stage unless you're picking up someone) at the approximate throw distance and center the red dot in the beam. But I can't quite see how that would work with a gun. Shoot, see how far you're off, shot again, readjust, repeat until accurate, would seem like a waste of many bullets.

As far as changing lamps goes, for the distance you're shooting, they're going to be HMI, HTI, MSR or possibly Xenon sources and should not be changed without training, particularly the Xenon. Sounds as if you'll have a rep. from the lighting company on-site. I suspect that person will be calling spot cues and running the board, and not know too much more about the band than you do. So don't sweat it, you'll do fine.
 
I don't know how much residue gorilla tape leaves behind, but gaff tape is fine and accepted on a followspot, although try not to tape directly onto the lamphouse, due to the heat. But taping a sight near the front is fine. Bring a pair of gloves, (I like a pair of cotton gardening gloves), as the Douser, Chopper, and Iris handles of some fixtures get rather hot.

Now please answer a question for me, Radiant. How does one set up a red dot scope on a gun? With the SpotDot on a followspot, prior to the show, one just shoots the beam of light somewhere offstage (if there's audience, you don't hit the stage unless you're picking up someone) at the approximate throw distance and center the red dot in the beam. But I can't quite see how that would work with a gun. Shoot, see how far you're off, shot again, readjust, repeat until accurate, would seem like a waste of many bullets.

As far as changing lamps goes, for the distance you're shooting, they're going to be HMI, HTI, MSR or possibly Xenon sources and should not be changed without training, particularly the Xenon. Sounds as if you'll have a rep. from the lighting company on-site. I suspect that person will be calling spot cues and running the board, and not know too much more about the band than you do. So don't sweat it, you'll do fine.

Gorilla Tape is pretty goopy, but I knew it would hold better than Duct brand tape(those were the two choices at WalMart.) But inspiration struck as I typed that last post! I called dad, and he's got some sizable magnets that I can zip tie or tape my scope to, then the magnet will hold onto the spot. Thus I keep our stellar :oops: reputation with the local rental houses, save $89, and have a sighting aid! :)

Sighting in a scope on a gun is exactly the same principle as sighting a scope for a light. Firstly, attach the scope to the gun, and make sure all the screws are tight. With the gun in a stable, consistent rest, fire a round, or two or three to average out for error. Observing the target, and without moving the gun, use the scope's adjustments to put the dot/crosshairs over the bullet impact. If the dot is above the bullet impact, move it down. Fire another round or three, and they should be right under the scope's dot. This is done at close range, maybe just 10 yards or so. If one doesn't get it perfect at close range, they'll fling dozens of rounds wide when their target is at a distance. The only difference in principle between the two is that a gun scope needs to compensate for bullet drop at distance. To be properly sighted in at distance, you would put the dot just a little lower than the bullet impact when at close range. Sure, there's some trial and error involved, but you should be able to sight in any gun and scope in under 20 rounds, out to at least a couple hundred yards.

Here's
the scope I intend to use. I'll attach it to a receiver bridge (an intermediate piece between scope and gun) that will give me a straight, fairly flat surface for attaching it to the magnet.

I figured gloves would be necessary, though for some reason I imagined followspots were red-hot beasts just waiting to sear flesh. I'll bring a pair of leather work gloves I'm fond of. And I'll definitely leave any lamp changing to the rental people.
 
Spotlight-wise, things went pretty smoothly. We positioned two Lycian Super Arc 400s next two each other on a 8' by 8' platform, 5 feet high. The throw distance to the stage was a little under 40 yards. We weren't able to get one of the pedestals to elevate, so we left both of them around chest height. The stage platform was at 4 feet high, so the spots were dead level with the talent's face! I wish we could've positioned them at a higher angle, but we were so short on real estate. For safety's sake, we had to position FOH sound, light console, and spots in the same vicinity, to make our little piece of land unattractive to stray motorcycle riders. I suggested renting scaffolding, but there wasn't time.

I didn't mount my Mickey Mouse spot dot, though it was ready to go. I had simply taped my red dot scope to a goodly-sized magnet from Dad. With the beam level to the talent, I didn't see the use, and I would've had to stoop down a little to see through the scope. I was able to frame the talent with his outline on the highway behind the stage! Several years of running studio TV cameras surely assisted me, in that I was able to smoothly pan and tilt, and anticipate the musician's movements.

I took a few photos. Ok, I took a couple hundred photos! Sorry, I didn't take any of the band! I'll try to glom some off the guys at church. Here's a couple of them. The rest can be found here.

My perch with the spots.
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Mark focusing PARs, Steve shooting video.
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FOH and stage.
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Doesnt look to bad haha. No but really looks like you had plenty of Par's. I didnt see any ERS for SP's or did you just use spots for those. It is too bad you guys couldnt rase the spot any higher, bet the performers werent to happy about that. And also saw that you had a scissors lift to focus, that must have been nice. Im used to just having a normal genie lift.

How did it go over all and with the spots?
 
Doesnt look to bad haha. No but really looks like you had plenty of Par's. I didnt see any ERS for SP's or did you just use spots for those. It is too bad you guys couldnt rase the spot any higher, bet the performers werent to happy about that. And also saw that you had a scissors lift to focus, that must have been nice. Im used to just having a normal genie lift. How did it go over all and with the spots?
Things went well - though they almost didn't go at all!!! Somewhere along the way our lights and sound rental (both from one company) got scheduled for July! :eek: Staff found out on Wednesday afternoon, and had to scramble to get lights in by Saturday. The (original) vendor had a sound rig available, but no lights. (We found a separate company for lights, and went with the original company for sound.)

We had 120kW in PAR 64s, no ERS, no movers. There were 6 Source Four PARs for truss warmers, but they weren't used for some reason. Power came from our adjacent building, so we didn't have to contend with any generators.

I'm glad we had the scissor lift to focus. The LD arrived on Saturday around noon and asked for a person to climb. I told him very firmly that no one from our church was climbing their rig - we have no one with any experience at all in truss climbing. (I'd already had to dissuade two of our people from volunteering to go up! One guy I had to tell twice - I should've sent him packing.)

As for the spot placement, yeah, it blew chunks. Several times during his performance, Brian Howe sent clear indications of his displeasure, playfully shielding his eyes, or taking off his sunglasses and blinking exaggeratedly. Our Pastor commented on it as well. I bet we'll have great scaffolding next year...
 
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Didn't you speculate earlier about the followspots being in the scissor lift? It would have been tight, but do-able. And why was the PA not flown? Last question: why did the LD need an Avo Pearl for a 120K rig?
 
Didn't you speculate earlier about the followspots being in the scissor lift? It would have been tight, but do-able. And why was the PA not flown? Last question: why did the LD need an Avo Pearl for a 120K rig?

Yeah, I'd have rather had the scissor lift for the spots, but it was being used quite a bit for a mobile camera platform, and depositing camera operators onto rooftops. (Man we have a lot of cameras!)

I'm not sure why we stacked the PA. It may have been what was intended all along. Then again, with the miscommunication as to the event date, there may not have been anything suitable available. I know the light rig came off the truck from another event. The cool thing is it was a larger footprint and something like 20 kW bigger that what we had scheduled originally, for the same cost. Either way, I have absolutely no complaints regarding sound. The audio was exquisitely clean and powerful. I've worked with Lance at LKP Concert Productions three times now, and it's been a walk in the park each time. He and his crew are professionals in every sense. *end shameless plug*

Dunno much about the Avo. Again, we had to find lights at the very last minute, so maybe it's just what they had in the shop. I talked a lot with the lighting assistant, who was pretty enthusiastic about Avo's Pearl Tiger. I intend to read up on it soon, as I don't know anything about them.
 

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