Strand MX + Scrollers

You would have RGB Mixing.
 
Another thing that is sort of neat that I do often that's sort of a "colorchanger/LED cop-out" is gel three instruments with R27, R80, R61 (the primary red, green, and blue) and focus them in the same spot while hanging them as close as possible next to each other. Often I find we have just enough of an inventory to do that. Now, this is with S4 ERSes because they burn almost white so you can pretty much have any color and for me it's cheaper than buying scrollers, renting them, plus we dont have readily available DMX on stage. I wouldn't be so quick to do this with PARs of any kind (regular or S4) just because pars diffuse so much and you wouldn't be garanteed to get the same focus on all three units.

This has the small advantage over most scrollers just because if the director (like some I've worked with) are like "i want more of ____ color!" then you can give it to them in a way that makes since. Now, LED lights are doing the same thing, but this is a good alternative.

Just one note: Watch those shadows because they can get a little funky at times. But with some planning this is a really fun technique.
 
Another thing that is sort of neat that I do often that's sort of a "colorchanger/LED cop-out" is gel three instruments with R27, R80, R61 (the primary red, green, and blue) and focus them in the same spot while hanging them as close as possible next to each other. Often I find we have just enough of an inventory to do that. Now, this is with S4 ERSes because they burn almost white so you can pretty much have any color and for me it's cheaper than buying scrollers, renting them, plus we dont have readily available DMX on stage. I wouldn't be so quick to do this with PARs of any kind (regular or S4) just because pars diffuse so much and you wouldn't be garanteed to get the same focus on all three units.
This has the small advantage over most scrollers just because if the director (like some I've worked with) are like "i want more of ____ color!" then you can give it to them in a way that makes since. Now, LED lights are doing the same thing, but this is a good alternative.
Just one note: Watch those shadows because they can get a little funky at times. But with some planning this is a really fun technique.

So when you say this, do you mean that you gel the lights those primary colors only, or do you do this in addition to using LED lights? Also, what are some techniques that you use to eliminate shadowing?
 
This is a complete alternative to using LEDs or scrollers. In our case it's just cheaper to buy some sheets of gels than running DMX places and buying new things.

So yes, you have three units hung directly next to each other and they are geled RGB (R27, 80, and the green which the number escapes me) - meaning you have one red unit, one green unit, and one blue unit. The shadows will (depending on intesity of those three units) will end up being a combo of cyan, magenta, yellow on the floor. Usually, and this is sort of difficult to explain without seeing each individual venue, but I've done it mostly from the front or some sort of extreme front/side 45 position. Usually they're units that have really large spreads so each can practically wash a section of the stage.

To eliminate that show problem, usually (depending on your plot) the top and side lights mask it. You may not want to use this technique really as primary light because you might start seeing those shadows, but you are safe usually at pretty high intensity. Its hard to explain, but usally on a black floor you're alright. Just watch shadows on other people (and as i said, depending on your design the top, side, and front light do well enough at masking it).

Hope this helps?
 
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I would think that the cost of getting all new parcans, all new gels, and the bulb replacement costs would equal that of using LED Parcans.
 
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Another question I have is, what if I some day wanted to add Rosco Icues to the rig? Could I change the adresses on the LED's and then use 2 channels on the board as a pan and tilt? Or would that not work?
 
Another question I have is, what if I some day wanted to add Rosco Icues to the rig? Could I change the adresses on the LED's and then use 2 channels on the board as a pan and tilt? Or would that not work?
it would but then you would loose control of the leds, assuming your not going to buy a larger board which could do both at once.
 
In 8 bit mode, yes, they only take 2 channels each. But in 16 bit mode they take 2 channels for pan and 2 channels for tilt, one coarse and one fine for each. But you'd probably get away just fine with 8 bit mode.
 
In 8 bit mode, yes, they only take 2 channels each. But in 16 bit mode they take 2 channels for pan and 2 channels for tilt, one coarse and one fine for each. But you'd probably get away just fine with 8 bit mode.

Thats great...I was just at my theater and was looking at our dimmers. We use the type "CD80 Supervisor" its made by strand, but I really couldn't tell if it had a DMX through on it or not. Do you know anything about this dimmer, and have you possibly ever used it before.

I also looked at the MX and confirmed that it does not have any additional dmx outputs on it.
 
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These were pretty standard a number of years ago, typically they had the option of several control systems depending on what you were set up with, if you look at the connector feeding the dimmer assuming it is not directly wired in for control, if you have 4 pin xlr or a funny odd smaller connector, it is AMX if it is 5 pin xlr then typically it is dmx, also look at the output from your console.

It is possible that you have a converter in the system to change your control protocol. It typically takes some looking around seeing how they are connected and what is there to figure it all out. Usually on a pro installation the stuff is pretty much labeled.

It is probably possible to find the final input, un terminate it and get the dmx out assuming it is dmx, since most of the racks were all set up to be able to add additional racks to the system.

Does it look like this?

http://www.strandlight.com/US/cd80_sv.html

there is more information at that site also

Sharyn
 
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These were pretty standard a number of years ago, typically they had the option of several control systems depending on what you were set up with, if you look at the connector feeding the dimmer assuming it is not directly wired in for control, if you have 4 pin xlr or a funny odd smaller connector, it is AMX if it is 5 pin xlr then typically it is dmx, also look at the output from your console.
It is possible that you have a converter in the system to change your control protocol. It typically takes some looking around seeing how they are connected and what is there to figure it all out. Usually on a pro installation the stuff is pretty much labeled.
It is probably possible to find the final input, un terminate it and get the dmx out assuming it is dmx, since most of the racks were all set up to be able to add additional racks to the system.
Does it look like this?
http://www.strandlight.com/US/cd80_sv.html
there is more information at that site also
Sharyn

Its a lot smaller but it kind of looks like that. I'm not really sure how to find the final input, and being that I don't work at the theater, I just volunteer, I would rather not start taking things apart with the dimmer...plus I have absolutely no idea where I could find those things with the dimmer.
 
The also made a touring rack, if you can find where the control cable comes into he dimmer (probably the main non electric cable, and see if right by it there is another jack marked output. Most of the racks as i said have ins and outs, USUALLY jacks are pretty well marked)

Sharyn
 
In a rack install like that, there usually is no jack on the rack, or near the rack, for a through. However, there is a terminal block inside the rack that you can tie into to get a DMX through rather easily. If you dig in your book a bit, I am sure you can find it. If you do not feel comfortable doing it give you local lighting company a call and they can get it put in for you. It will save you a pretty penny, so I would do some reading!
 
In a rack install like that, there usually is no jack on the rack, or near the rack, for a through. However, there is a terminal block inside the rack that you can tie into to get a DMX through rather easily. If you dig in your book a bit, I am sure you can find it. If you do not feel comfortable doing it give you local lighting company a call and they can get it put in for you. It will save you a pretty penny, so I would do some reading!

I'll talk to the theater manager (building operations director) about this, and see what he says. (knowing him, he'll probably not allow it)
 
Another question that I have (and I hope this relates enough to the topic is)...Would LEDs have enough intensity (if focused correctly) to be able to light our black traveler all the way upstage (ok, 20 feet), or would the color not be able to travel that far?

Edit: Does this make sense?
 
Certainly. Hmmm...if your traveler is only 20' upstage, and your pipe is less than 10' from the front of the stage, then I'd think that the Wiedamark cans would definitely throw that far. But I'm not sure if they'd be bright enough.
 
Certainly. Hmmm...if your traveler is only 20' upstage, and your pipe is less than 10' from the front of the stage, then I'd think that the Wiedamark cans would definitely throw that far. But I'm not sure if they'd be bright enough.

oh ok. So if I wanted to light the traveler well, would gelling the 5 fresnels (sp?) that are hanging there probably be the best option for now?
 
I'd say so. Is there a cyc behind it, or is it just a black traveler?
 

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