STAIRVILLE MH 575 S MOVING HEAD

[revbobuk]

Umm - perhaps we could take it that the point is made, and maybe a few people who have some actual knowledge of the movers mentioned might like to pass a few comments about them? I mean - at the end of the day, if the OP wants to set up in business at the age of 16 (or 17) with a handful of Thomann movers, then that's really between him and his customers, isn't it? Good advice here, for sure, but I can see it descending into a flame war if we're not careful, and that helps no-one.

 

So - given that all the above has been said, are these lights noisy? bright? reliable? After all - they may be cheap compared to Robe or Martin, but they still aren't cheap compared to a PAR can, are they?

 

I'm not trying to stifle useful discussion - that's the mods job(!) - but maybe move things on a bit?

[OllieH]

I'm starting to get a little annoyed by all these claims of 16 year olds that they're "freelancers" or "industry professionals". I'm 16, with an interest in technical theatre, and lose out on opportunity because the real industry professionals think all teenagers are know-it-alls. And rightly so, reading this thread and others.

 

The crux of that matter is this: is this equipment going to help you further your knowledge of technical theatre or, if they're going to be used for hire use, are you going to break even/make a profit on them? It's fair enough spending less than £100 on a couple of dimmers and PAR cans but, with regard to spending almost £600 (which is a lot of money for a 16 year old), you will be wasting your money. On the knowledge factor, it's a similar situation to a guy who posted on here a couple of weeks ago asking whether buying 2 scanners and a 12 fixture (12 channels each) controller would improve his knowledge of technical theatre. The simple answer was no, as the equipment he wanted to purchase was so far from the "industry standard" of today.

 

Just my two pennies' worth.

[Breakwave]

Ok It looks like I've got my spade out and started digging my grave really.

 

Im a bit like Tom in some ways .

 

On the desk front I really the avolites moving expert pearl titan 2010 . I Found it was brilliant with every type of lantern and for me the programming stuff was very good.

 

Oh and btw my parents don't take me to venues with all my stuff. I work alongside another technician who has a van and not your small combo either <_< nice big sprinter to cart stuff around in !

 

Anyway Id like to say that I'm a bit confused on my actual path.Id prefer to be an engineer using other peoples kit first at venues and then buy my own stuff.

 

On the contacts front I know quite a lot of local people that are potential customers and have already employed me as a freelance technician using other peoples equipment (LX anyway) As they did pay for using my sound rig.

 

Im not claiming Im a freelancer or industry professional . Im not but I do want to go that way, at the moment its a few jobs a month. I don't just want to stick in one area of work like theatre either.

 

Basically I need good sound advice and at the moment revbobuk seems to understand that this post is turning into a bit of a bickering session.

 

All I really wanted to know was about these movers ? People have jumped to conclusions and assume there for my own hire company . There not ! Because there is no hire company yet .Yes I'm 16 and £600 is a lot of money to be playing around with .Thats why I put this post on . To get peoples opinions on the STAIRVILLE MH 575 S MOVING HEADs .

[Aaron-Hill07]

Ynot - The thing I want to contest here, is that you don't have to be qualified to be a Lighting Designer. In fact, I know a lot of LD's that haven't got any relevant qualifications. It's not about paperwork, it's about the creative flare and the technical knowledge and ability you have. Of course, qualifications will be very helpful which I don't doubt. But you don't NEED a qualification to be an LD.

 

Secondly, the theatre work I have listed is NOT all school productions. In fact only two of those are, which are Back to the 80s and Disco Inferno.. all the other productions on my portfolio have been in professional environments with professional production companies and theatres.

 

Again, I don't quite understand your point... I didn't say I design huge festivals and international tours, I said I'm a lighting designer which I am. Because I design lighting for theatre and live events, yes they may not be the hugest shows in the world but they are usually of a good size (not your usual village hall or park gig).

 

 

Woody2 - Again, not really sure what your point is there? I attend college, every weekday but Wednesday and due to the nature of the course, I am allowed to take time off college to work on productions (tutor's also support it fully to get more experience outside of college). Which I have done a lot of over the past year whilst still completeting all of my work and assesments at college.

 

I actively work within the industry on a FREELANCE basis and do have quite a lot of work on during the year.

 

BarlowJ331 - Not once have I said I'm better than anyone else my age, I've just had more opportunities and more experience than a lot of people our age. I'm sure you'd agree that it's rather frustrating to see a lot of 16 year olds trying to blag it when all they've done is two shows in school pressing flash buttons (Trust me, theres lots of them on my college course).

 

& I'm 17, and have been since April 30th.. You may have seen an old post?

[Biro]

That word again. Freelance.

 

 

 

 

Edit: Never mind, I'm not going to let myself get annoyed with you.

[Ynot]

OK - first things first.

I believe that amongst the melee that's gone above you HAVE been given an idea of what they are - or may be - like as a budget mover.

But to summarise, the likelihood is that AS a cheap option (and having used cheap options (not by choice) in the past) they will be noisy (both from fans and motors), and fine control will be jerky and limited - ie you MAY not get them to point at precisely the same position each time every time.

As with other budget kit there MAY be differences between colours if they're not from the same batch.

 

The reason it all went astray - as with many similar topics - is that we (ie those WITH the age and experience) usually try to discourage those of you just at the threshold of the business from being too loose with your money.

 

It's all very well eyeing up all the gear you might see at ABBT or PLASA shows and in the trade mags, watching things fly around on TV and at gigs/shows. But at the end of the day as a starter, you do not NEED to buy these things. As you've realised there's pretty much no way you could afford something that's going to be anything like the sort of pro kit you've seen in use, so the temptation to buy a budget option is maybe too alluring to resist.

 

But the recommendation from us here is to do just that - resist it.

 

Unless you REALLY have the need to invest in moving kit for a specific purpose that will mean you use it on a regular basis and so get your money's worth, then go ahead - but bear in mind the caveats we've placed at your feet.

 

Trust me - we know what we're on about. We've all been teenagers and coveted what the next guy has. And I'm sure we've all gone out and spent our (parents'?) hard earned cash on something that's sat in a cupboard/garage for years after the first use!

 

that said, unfortunately, yes...

Ok It looks like I've got my spade out and started digging my grave really.

... that's actually the truth.

Because in your follow-up posts you've said that you're looking at buying a Pearl (VERY expensive choice at your stage), a good set of generics and a few movers. That is a significant financial outlay to be looking at, even for budget kit.

 

Anyway Id like to say that I'm a bit confused on my actual path.Id prefer to be an engineer using other peoples kit first at venues and then buy my own stuff.

Then you make this statement, which whilst contradictory to earlier stuff, is actually the RIGHT way to go about starting off

 

Sadly you shot yourself in the foot again, however.

People have jumped to conclusions and assume there for my own hire company .

Because whether you meant it the way it sounded, when you earlier posted .....

I do want to start building my own hire company up.

 

Im looking at getting the right equipment together for things like music concerts/gigs and the odd bit of theatre ( where I use the venues generics)

.... You can't have it both ways, I'm afraid.

 

A concurrent post has been automatically merged from this point on.

 

Ynot - The thing I want to contest here, is that you don't have to be qualified to be a Lighting Designer. In fact, I know a lot of LD's that haven't got any relevant qualifications. It's not about paperwork, it's about the creative flare and the technical knowledge and ability you have. Of course, qualifications will be very helpful which I don't doubt. But you don't NEED a qualification to be an LD.

Hmmm...

 

OK - so on how many of these professional events where you list yourself as LD did you actually have FULL control over all aspects of the design, rig and programming? Because that's what a pro LD is responsible for. He/She may not actively and physically rig OR programme, but will set limits and criteria to whoever does so.

Paperwork... Actually I don't see how you can create a valid design without some paperwork. Otherwise you'll just get lost in the mire, as will those working with/for you.

 

So precisely what do you see Lighting Design as being?

If it's turning up, throwing up a few lanterns in a semi-random rig then flying by the seat of your pants to set some states, then sorry - that's not it!

Design is about knowing the performance, what the director/tour manager wants to achieve, having the experience to know what will achieve that and from where. And then selecting appropriate kit and deciding in advance what needs to go where and how it gets back to desk/dimmers and planning that. Which brings us back to paperwork.

 

Sorry - I don't mean to denigrate your work, but you just need to temper what your image appears to be to those outside of your limited (at present) circle of influence.

 

Secondly, the theatre work I have listed is NOT all school productions. In fact only two of those are, which are Back to the 80s and Disco Inferno.. all the other productions on my portfolio have been in professional environments with professional production companies and theatres.

So... Rent - The School Musical...?

[Breakwave]

Thanks for the advice . Im going to resist .

[Aaron-Hill07]

Ynot - You make a fair point as of course you don't know the work I do so of course your assumptions are fair. However, I do understand the role of LD and I am not the kind of person that goes, chucks up lights and programs some states..

 

I design all of my rigs properly, I have worked with a lot of directors in theatre and have been through the complete production process many-a-time. The paper-work I have for at least 10 productions is strong, I have Lantern Schedules, Colour Calls, CAD Drawings, Patch Plans, Cue Sheets etc. So as much as you may think I'm the kind of person to just do the chucking up lanterns thing, your actually very wrong.

 

& Rent-The School Musical was outside of school, however the licensing firm suggested we did the School version due to the age groups of the cast in the production (Some under 16's) which meant the more sexual references in the show were deemed unsuitable hence why we did the School version instead of the standard version.

[steve h]

I think this thread just goes to prove one thing. On paper there is no way to tell what a person is like. No wonder for such a long time this industry has been based around who you know. From getting my own CV together I know that the work I do is of top notch standard, however if you read it all it says (mainly) is that im a school tech and do am dram. And as people on here know there is a huge range in each of those different areas from near-profesional to not that great at all.

 

If you want to spend your money on kit do it. Theres enough advice on here already about the pros and cons and maybe some lessons and best learnt the hard way

 

Steve

[Biro]

Aaron, you really don't know when to be quiet do you?

[Aaron-Hill07]

Yes, actually I do. If someone makes a valid point, then I'm allowed to put across my point in return to clear things up so I'm not taken the wrong way.

 

You, on the other hand have had no input into this discussion and are clearly here to try and be-little people and cause a nuisance for no reason, so I will turn your comment back onto yourself and that's the end of it.

 

Thanks,

[Andrew C]

Bored with the bickering. :unsure: