[SML] Colorsource Spot vs incandescent S4

[Richard Niederberg]

Dear Alf,
There is no combination of Phosphors that can cover all of a CIE color
chart. There isn't even a Pantone color, or color combination, that can
cover the whole chart, despite attempts at subtractive and additive mixing
since the CIE chart was developed in 1931.
/s/ Richard
_________

On Sun, Jan 14, 2018 at 6:56 PM, Richard Niederberg <ladesigners at gmail.com>
wrote:

> Dear Jon,
> In regards to shootouts: no photo-chemical (film dye) or electronic
> (video, digital origination) device can exactly replicate the color of
> sunlight reflecting off a fresh Rose. You can do shoot-out with your best
> camera at your local Botanical Garden, if you need convincing.
> /s/ Ricrard
> ________
>
> On Sun, Jan 14, 2018 at 6:01 PM, Alf Sauve' via Stagecraft <
> stagecraft at theatrical.net> wrote:
>
>> In re-outfitting a "gym" venue, I decided to ditch all the incandescent;
>> 27 PAR64s and one Spot.  Half needed base/cord replacement and the EDI rack
>> is gradually going south anyway.  I got 14 ColorSource PARs and 8 Spots.
>>
>>
>> Plenty of light to cover the 32'w x 16'd stage.  Plenty of light.   I
>> wouldn't worry about the amount of light and wouldn't hesitate to replace
>> them 1-for-1 for the Colortrans and S4s I have in the other venues.
>>
>>
>> The problem is, and it's the first time I've done all LED lights, getting
>> the colors right on stage.   I've done LEDs on scenery, cycs and back
>> drops, but have always had incandescent for the acting space.  With all
>> LEDs you have to color them carefully.  It's so easy to get too much, way
>> too much color.  Probably because it's so easy.    You also, if you're
>> using 5600k fixtures, have to be careful about it being too white.  Got to
>> have some tint in it.  But these are good problems to have.
>>
>>
>> I also went with the wireless CS Relay's.   Great invention.   They've
>> worked well.  The beauty of them is running  power through them.  When they
>> loose wireless signal, after a delay, they shut power to the fixtures off.
>> It made installation a breeze.   And I don't have to worry about energy
>> savings.
>>
>>
>>
>>
>> On 1/8/2018 3:49 PM, Matthew Breton via Stagecraft wrote:
>>
>> Unfortunately, there are a lot of numbers to compare -- 575 or 750W
>> conventional, versus exactly which version of a Lustr or ColorSource?
>>
>>
>> From personal experience, I can tell you that the Series 2 Lustrs do
>> quite well when comparing full intensity in open white to a 575w
>> conventional.  Their numerous side benefits (color mixing, built-in dimmer,
>> never needing gel or color media again) really do outweigh their
>> drawbacks.  There are a few colors that no LED fixture I've seen yet seems
>> to be able to hit, but overall I think the benefit is very strongly toward
>> the LEDs.
>>
>>
>> You could always go to a rental shop, or work renting on or two into a
>> budget to arrange for a shoot-out.
>>
>>
>>
>> Matthew Breton
>> Design for Theater and Dance
>> ------------------------------
>> *From:* Stagecraft <stagecraft-bounces at theatrical.net>
>> <stagecraft-bounces at theatrical.net> on behalf of Jon Ares via Stagecraft
>> <stagecraft at theatrical.net> <stagecraft at theatrical.net>
>> *Sent:* Monday, January 8, 2018 3:41:14 PM
>> *To:* Stagecraft Mailing List
>> *Cc:* Jon Ares
>> *Subject:* [SML] Colorsource Spot vs incandescent S4
>>
>> So I was looking at a spreadsheet someone built, comparing the various
>> flavors of Source Fours (Lustres, Colorsource, incandescent), plus
>> other LED goodies from ETC, and just looking at some sample numbers
>> (all emitters on, 3200K, 5600K whites) it looks like both the latest
>> Lustres and the Colorsources seem to be around 1/2 the footcandles of
>> the old-skool incandescent Source Fours?  Really?
>>
>> Anyone have any experiences from a side-by-side shoot-out?
>>
>> --
>> Jon Ares
>> www.arescreative.com
>>
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>>
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>>
>>
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>
>
>
> --
> /s/ Richard
> _________
>



-- 
/s/ Richard
_________
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