happy_melon Posted February 10, 2009 Posted February 10, 2009 The hire company I want to use for my next show has these UV cannons. Note the complete absence of runners that precludes the 'normal' shuttering methods (scroller+neutral-density, DMX iris/shutters, etc). It's also waaay to big for the old servo/CD tray tricks. And as we all know they sound like an old fridge for five minutes after being fired up, which is distinctly unhelpful... Does anyone have any bright ideas for how to stop the white-lab-coat-wearing actors from looking like ghosts all the time?
pritch Posted February 11, 2009 Posted February 11, 2009 Do the shutters need to go back over the lanterns again, or will a one-shot thing suffice? I'm thinking a nice, simple bit of dark material, held in place by whatever's convenient, and either dropped down or pulled up out of the way by a line at the right moment. The choice of material, and any gaps needed for heat to escape or whatever are left as an exercise for the reader! :** laughs out loud **:
Ben Posted February 11, 2009 Posted February 11, 2009 Hi The easiest thing to do is use a different hire company, if the company you are looking at only has the one type, shop about a bit, others are out there. What are you using them for? If you have moving heads a very dark blue can often achieve the same effect. Take a look at this thread for some inspiration also. Ben
Jeremy MLS Posted February 11, 2009 Posted February 11, 2009 Hi, As an alternative, in our theatre we use 6 UV tubes in standard fluro fittings that we clamp onto the lighting bars and run the power cables back to a wall switch so that we can switch them on and off when they are needed. Jeremy
sleah Posted February 11, 2009 Posted February 11, 2009 Hi, As an alternative, in our theatre we use 6 UV tubes in standard fluro fittings that we clamp onto the lighting bars and run the power cables back to a wall switch so that we can switch them on and off when they are needed. Jeremy If doing that (which is fine from a safety POV) just be aware of causing poping and cracking on any sound system you are using :** laughs out loud **:
Sound In Gloucestershire Posted February 11, 2009 Posted February 11, 2009 consider a few LED UV lights, I have a LEDJ UV Str ator (by pro light) its bright and DMX controllable. You may need 2-3 though depending on how concentrated you wanted it and how many other lights itll be competing with A concurrent post has been automatically merged from this point on. oh and update your profile, someone could offer to help if they knew where you were
tokm Posted February 11, 2009 Posted February 11, 2009 See if your hire company stocks or can get these in for you >> Clicky The Wildfire Fresnel's definitely seem to be the most common, controllable UV fixture around! What are you using them for? If you have moving heads a very dark blue can often achieve the same effect.I was going to say, are you sure MLs in 'UV' or a just a few cans with some L181, definitely not an option? T Added after: I have a LEDJ UV Str ator (by pro light)I'm guessing you really mean the LEDJ UV Stratos? Can you comment on if they're truly UV LED's or just very dark blue ones? How do they fair in a shoot out next to some true/non LED UV sources, i.e. cannons/tubes?
the kid Posted February 11, 2009 Posted February 11, 2009 I have a LEDJ UV Str ator (by pro light)I'm guessing you really mean the LEDJ UV Stratos? Can you comment on if they're truly UV LED's or just very dark blue ones? How do they fair in a shoot out next to some true/non LED UV sources, i.e. cannons/tubes? I am not sure where but I think I read somewhere that the current LED UV cans are pretty week in comparison to the cannons. Much like a 2k v's a LED can. As a note, having used UV for a few shows, almost any light at 20/30% will cut it out, and make it just a light glow on white, and anything above 50% drowns it totaly. As for the fridge, it was a preshow to have it turned on. Quick note, don't have several on the same circuit when starting, it might be differnt with your venue but it tripped my fuses. TK
happy_melon Posted February 11, 2009 Author Posted February 11, 2009 Wow, thanks for the response guys. We'd need the UV effect at least four or five times through the play (Clockwork Orange, the director asked "how wierd can you make these scenes look?"... ) but interspersed with other things. As I said, the actors spend most of their time wearing white shirts or lab coats, so having the UV on all the time is not an option, especially since they're also doing the scene changes (grrr!). Budget (~75 for this part) probably would stretch to a moving head or two, but I honestly couldn't justify it; there's nothing else to do with them... A rack of parcans with L181 is, naturally, my backup (although AFAIK L071 actually has better UV transmission). Maybe a combination of that for the strength and some UV tubes for the actual ghost effect would work...? This is hardly a novel concept, it's crazy that no one does cannons with shutters (or even shutter mountings). Thanks for all the suggestions.
Keeper of the Keys Posted February 11, 2009 Posted February 11, 2009 I used the model in your picture or something similar several years ago, I don't remember terrible noisy when it started.However they were usually some meters away from me/the audience so it could be that it was noisy... What I do remember is that it's throw is almost 180 degrees...
johnhuson Posted February 11, 2009 Posted February 11, 2009 A rack of parcans with L181 is, naturally, my backup (although AFAIK L071 actually has better UV transmission). L071 has a peak transmission of about 35% at around 450nm where as L181 peaks at a shade over 40% at around 400nm so you'd definitely be better off with L181 to get close to real UV. The shorter the wavelength the closer you are to UV, if I remember correctly UV stretches from about 400nm down to 10nm. A little L071 would work as a bit of extra light for scenes where you didn't need a full on UV effect but would tend to wash out the effects of the L181 if used to heavily. Personally there's not really a substitute to a UV cannon but unfortunately I don't know of any easy ways of shuttering them. EDIT Just checked up and 'black light' only runs down to 320nm (should of paid more attention in Physics!).
the kid Posted February 11, 2009 Posted February 11, 2009 We'd need the UV effect at least four or five times through the play (Clockwork Orange, the director asked "how wierd can you make these scenes look?"... ) but interspersed with other things. As I said, the actors spend most of their time wearing white shirts or lab coats, so having the UV on all the time is not an option, especially since they're also doing the scene changes (grrr!). I think having uv on all the time will add a interesting edge to the scene changes and the overall show. Perhaps borrow one for a rehearsal to see how it works v's other lights. As keeper said, if its right next to you its going to be noisy.
Sound In Gloucestershire Posted February 12, 2009 Posted February 12, 2009 sorry my keyboard must have messed up a bit when I typed Stratos they are actual UV lights, however they wont have quite the same flood effect as the cannon above, its more focused. I used one in a room approx 12 metres long and on the far wall, the UV effect was about 3.5/4 metres wide. So you would need a couple at least, but seing as they are only about £90 to buy, you could hire a few in and be within budget
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