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Discussion in 'Lighting and Electrics' started by Tyler, May 3, 2007.
grid from either a weight, size, or electrical capacity perspective.
Throw distance, speed, prisms effects, macro effects, physical size, cost... There are plenty of reasons to choose certain fixtures for certain areas/purposes. Sometimes you need something with a high output and a far throw that doesn't need to move fast, sometimes you need something small and compact that can throw light around fast but don't need a huge output. Other times you need a zoomable fixture with shutters and CMY. The list goes on... other times you have X to spend and need Y fixtures, so you divide and see what you end up with.
They could also be rented.
Not on a cruise ship... very rarely do installs rent lights.
Oh, I wasn't thinking cruise ship. Usually I don't associate boats and stage lighting.
Also Tyler about half the lights you mentioned aren't "spot" lights, but wash lights. Whcih are generally cheaper as they have less moving parts.
Don't flame me on this these are rough prices...
Mac 2k's $15k
Mac 700's $10k
Mac 600's and 550's $5k-$7k
If a Mac700 has everything you need for the specific purpose you don't need to spend the extra $5k for a Mac 2k? There's no reason to get a Mac2k or a 700 if you don't need CMY for a specific effect, you can get by with the 600's and 550's instead. So budget vs. effect needed plays a huge role.
Also if you get into the specific details of what each can do it quickly becomes like asking the question why do you need Fresnels, Elliposidals, and PAR's. The difference between a Wash and a Spot is a huge difference. There's also a big difference in Lamp intensity. Then you add things like single or double gobo rotation, CMY or filters, animation wheel, shutters... they are all very different.
The real challenge is being the person with the skills to design the show and know which specific instruments you need for which effect. That takes talent.
The MAC600 has CMY. It's one of the older CMY fixtures. It's been an industry standard for what is termed as "forever" in the modern automated lighting industry. It's a great wash fixture and still regularly goes out on tours.
They all have a differnt job to do. The designer is also an buisness man. You need to figure out if a par can will do where you were going to use a s4 its economics. The same goes for moving lights. A mac 2k costs more then a mac 250 so if you can use a 250 then you get hired a again
Exactly! However, Len's point also applies - weight, both hanging and trucking, and power are never in endless supply.
theatre world, noise of the moving lights is very important where it is of little concern for a concert.
conventional fixtures, the choices of, and the reasons why a designer would/wouldn't use a fixture. The basic answer to that thread was that it comes down to personal designer choices and economics.
Clay Paky's Cyan, which is different than Robe's Cyan. You get the Picture. So it gives you some cool contrast. Its just like Roscos's blue is not the same as Lee's blue. The most recient show I did was La Mafia, we used 12 Mac 600, 6 Cyberlight Turbos, and 6 Mac 500's. I mix martin, coemar, and highend a lot b/c thats usually what i have hanging around. I never see our clay paky's. A lot of the time you spec what you know is easily availiable. If i spec 34 Mac 2ks I know every town we go into will not have 32 Mac 2ks. So you do have to take that into consideration.
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