sam.henderson Posted February 7, 2004 Share Posted February 7, 2004 it's the end result that's important. Completly agree with you. I definetly see your point its just that I think you can produce a design which is a lot better by using movers to supplement generic lighting rather that generic lighting to suplement Movers. I suppose if you are a good LD you ewill know exactly how to mix the two and get the right balance (as you said) Sam Link to comment Share on other sites More sharing options...
Jon T Posted February 7, 2004 Share Posted February 7, 2004 soundlab = Skoda (keeps stoppin n startin)ACME = Nissan (cheap and reliable) Link to comment Share on other sites More sharing options...
P. Funk Posted February 7, 2004 Share Posted February 7, 2004 for the production we are doing at the moment, I designed it with just using generics to do as much as possible. we hired 2 movers and a desk, and damn they're sueful. they just fill in gaps that we would have had, and add so much more depth to the states. Link to comment Share on other sites More sharing options...
mike Posted February 7, 2004 Share Posted February 7, 2004 P. Funkwe hired 2 movers and a desk, and damn they're sueful. sueful? ah well....america's influence marches on.... <_< :P Link to comment Share on other sites More sharing options...
SceneMaster Posted February 7, 2004 Share Posted February 7, 2004 Yes, I have to agree the use of movers is great but in moderation. Like P. Funk the show I have just finished we used two mini macs (ok they are low end and crap but we had no money!!!) and an axiom desk and they were great for gap filling and effects during songs. (the show being Guys and Dolls) As the show was an old musical I designed the generic rig before I even thought about hiring the movers and made it so it covered all acting areas. But I must say the lighting effects the small macs produced looked very good when used in moderation. <_< Link to comment Share on other sites More sharing options...
Just Some Bloke Posted February 7, 2004 Share Posted February 7, 2004 we hired 2 movers and damn they're sueful. they just fill in gaps that we would have had, and add so much more depth to the states.It's backlight that adds depth to a state, not what produces it. Movers have their place but are expensive. Backlight pars and profiles with hardfocussed gobos in them will add even more depth (because there's more of them) for the same amount of money and can be used to chase, giving a feeling of movement. Nothing wrong with either choice, it's just a matter of what the LD feels is most appropriate to the show being lit. Personally I use different solutions to differing situations. This is why I'm against schools selling generics to buy heads. You wouldn't want to use Mac 250s for a production of The Caretaker or Waiting For Godot, or Murder Is Announced or... [continue ad nauseam]. It would only work if musicals and dance shows are all they ever do, there's plenty of time to plot, they can afford to have them maintained and there's someone around all the time to explain how they work. The humble fresnel still has its place! Link to comment Share on other sites More sharing options...
colinmonk Posted February 8, 2004 Share Posted February 8, 2004 Varilite 2000 series and VL1000 are very nice fixtures...Dont think VL have lost their day (in my opinion) Clay Paky depends on what your using, Never had a problem with Units such as Stage Zooms and Profile +'s, and they are also very easy to service, lift the lid, pull the ribbon, under 4 quarter locks and out comes the guts! Link to comment Share on other sites More sharing options...
P. Funk Posted February 8, 2004 Share Posted February 8, 2004 sorry I shouldnt have said 'add depth'. what I meant was that they make the state so much more interesting to look at. especially when the director warns you 'I might change my mind about the lighting for that scene' before you design it. Link to comment Share on other sites More sharing options...
Brian Posted February 8, 2004 Share Posted February 8, 2004 especially when the director warns you 'I might change my mind about the lighting for that scene' before you design it.Ah, the sure sign that the director doesn't have a clue. Link to comment Share on other sites More sharing options...
Ike Posted February 9, 2004 Share Posted February 9, 2004 hmm, I have been watching this topic for a while with interest. I really am not a fan of the way movers are so frequently used to 'add interest' to productions. IMHO movers can be used in conjunction with generics and other effects to produce stunning lighting designs however they can also completly ruin a production by overuse or by simply being used as a substitute for good design and a bit of thought. In my experience the occurences of the latter by far out way those of the former. This is not a rant at anyone on the forum as I haven't seen any of you designs and therefore could not possible comment on them. Edit:spelling (again ;) ) Link to comment Share on other sites More sharing options...
Brian Posted February 9, 2004 Share Posted February 9, 2004 I really am not a fan of the way movers are so frequently used to 'add interest' to productions.I'm with Ike on this. You need to decide what should be keeping the audience interested. In a live 'pop' concert, especially in large venues, there is very little to visually stimulate the audience. The band is too far away to see, any screens are off to the side. Here movers can make a contribution to the show. In a TV 'pop' music show, partly because of the technical limits of TV and the studio environment and partly because of audience expectations, movers are also of use in creating a look and adding interest. In many other performances the use of movers is totally inappropriate. If the content of what is taking place on the stage is so boring that it needs a few moving lights to stop the audience feeling cheated then... a). The Writer should be shotb). The Producer should be shotc). The Director should be shot, hung, drawn, quartered and then shot againd). The actors should go back to working in Tesco Link to comment Share on other sites More sharing options...
Pardisaster Posted February 10, 2004 Share Posted February 10, 2004 I totally agree with it. Movers and scanners do create wicked effects. Some shows would to be honest look pretty crap without them. but in the same respect, over using them and using them badly can ruin a show and a tech's rep. *reminises of the days of sparkies at the local church hall using a disco s/l scanner for time travel....* ahh the memories..... :D Link to comment Share on other sites More sharing options...
sam.henderson Posted February 10, 2004 Share Posted February 10, 2004 Good points about when they are appropriate to use. For instance I did a show just before crimbo. It's was quite a heavy, dark sort of play and they used the movers way to much. It just didn't suit the style of the production and they were only used because the LD was slightly 'Mover Happy' as I call these people who just seem to have an obseesion about movers. Sam Link to comment Share on other sites More sharing options...
Evolution_Mark Posted February 10, 2004 Share Posted February 10, 2004 It just didn't suit the style of the production and they were only used because the LD was slightly 'Mover Happy' as I call these people who just seem to have an obseesion about movers.:D Yeah that seems like its common enough to have a condition namer after it. As a programmer I've often come across this, mostly from my current boss, who is usually obsessed with blinding the audience at every given oportunity! How do you tell an LD that he's not really doing, well, his job? I can't as a lowly programmer!! Link to comment Share on other sites More sharing options...
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